In a few points he even surpassed his model, as in the stupendous size of his edifices, in the amenity of his landscapes, and in the brilliancy of his fancy, truly lively, agreeable, and picturesque. In the Riccardi palace, once a royal residence, there is a chapel in good preservation, where he executed a Glory, a Nativity, and an Epiphany. He there painted with a profusion of gold and of drapery, unexampled, perhaps, in fresco; and with an adherence to nature that exhibits an image of that age in the portraits, the garments, the accoutrements of the horses, and in the most minute particulars. He long resided at Pisa, and died there, where he ought to be studied; for his compositions in that place are better than those at Florence, and he was there also more sparing in the use of gold. The portrait of S. Thomas Aquinas is highly spoken of by Vasari and Richardson; but they especially notice the pictures from scripture history, with which he ornamented a whole wing of the Campo Santo, "a most prodigious work, sufficient to appal a legion of painters;"[72] and he finished it within two years. Here he displayed a talent for composition, an imitation of nature, a variety in the countenances and attitudes, a colouring juicy, lively, and clear, and an expression of the passions that places him next to Masaccio. I can scarcely believe that he painted the whole. In the Ebriety of Noah, in the Tower of Babel, and in some other pictures, we discern an attempt at surprising, not to be seen in some others, where figures sometimes occur that seem dry and laboured; defects which I am disposed rather to attribute to his coadjutors. Near this great work a monument is erected to his memory by a grateful city, in the public name, with an epitaph that commends him as a painter. Time itself, as if conscious of his merit, has respected this work beyond any other in the Campo Santo.