Another conspicuous name among his pupils is Stefano of Florence, (Fiorentino,) whom Vasari, without hesitation, in every part of the art prefers to his master. He was the son of one Catharina, a daughter of Giotto; an ardent and inquisitive spirit, quick to discover and eager to overcome difficulties; the first who ventured on foreshortening, and if success did not fully second his efforts in that, it favoured him in perspective, which he much improved, and in the attitudes, variety and vivacity of heads. Landino fancied to compliment his memory by repeating the silly epithet of "Scimia della Natura," "Ape of Nature," which, from the resemblance of his portraits, was given him by the vulgar and the dilettanti of his day. His works in Ara Cœli at Rome, at S. Spirito of Florence, and elsewhere, perished, and nothing can safely be stamped with his name, if it be not a Madonna in Campo Santo at Pisa, grander in style than those of his master, but retouched. Of Tommaso, his son and reputed scholar, a Pietà, which might be taken for a work of Giotto, exists at S. Remigi of Florence; and still some frescoes at Assisi. They entitle him to the surname of "Giottino," given him by his fellow-citizens, who used to say that the spirit of Giotto had passed into him and animated his hand. Without embarrassing ourselves with conjectures on Ugolino da Sienna, we pass to the more celebrated name of Simone Memmi, or Simon di Martino, a native of the same place, the painter of Laura, and the friend of Petrarca, who in two affected sonnets has transmitted him to posterity. Whether Simone were the pupil of Maestro Mino as the Siennese, or of Giotto as the Florentine writers pretend, is a point beyond decision: he restored a picture of the first, and his style has some analogy to that of the second, though with more suavity of colour, and more poetry of conception. He was the first who dared to fill a spacious façade with one composition without dividing it into compartments. Such is that in the Capitolo degli Spagnuoli of Santa Maria Novella at Florence, where Vasari discovered every beauty of his own time, and where, in the crowd of introduced portraits, many have fancied, in spite of chronology, to discover the portraits of Laura and her friend; whom probably he did not become personally acquainted with till four years after the completion of that work, 1336, when he was sent to the Pope at Avignon, became familiar with Petrarca, painted Laura, and, strange to tell, reached the expectation of the lover, who saw "Il lampegiar dell' angelico riso." Miniature, though the last object of this work, was not the least of Memmi's powers. Lanzi has noticed one which fronts a MS. Virgil with the commentary of Servius, now in the Ambrosiana at Milan, but formerly possessed by Petrarca, who probably dictated the subject, and added the following lines:- Mantua Virgilium qui talia carmina finxit, Sena tulit Simonem digito qui talia pinxit.