angle and restoration of semicircular arches, as in the Loggia of the Lanzi, which he likewise decorated with sculpture. Some, without attention to time, have supposed him the pupil of Angelo Gaddi, but he was probably trained to the art by his brother Bernardo, jointly with whom he painted in the Capella Strozzi of Sta. Maria Novella, in the Campo Santo at Pisa, and alone and better in Sta. Croce, Death, Judgement, Paradise, and Hell, placing with Dantesque licence his friends among the elect, his enemies with the damned. The downfall of Pisa had raised Florence to the metropolis of Tuscany, and the spirit of its citizens to render its appearance worthy of that pre-eminence. Cosmo, styled the father of his country, who tuned the public affairs, might with better right have been called the father of distinguished talents: never was tyranny meditated on a less suspicious plan, or approached by more popular means. The house of the Medici, in the quaint Italian phrase, became the Lyceum of Philosophers, the Arcadia of Poets, the Academy of Artists. Dello, Paolo, Masaccio, the two Peselli, both the Lippi, Benozzo, Sandro, the Ghirlandai, were the clients of the family, and emulated each other in their homage. Their pictures, according to the usage of the age, full of portraits, perpetually presented to the people likenesses of the Medici, and often in the characters of the Magi royally robed, the sceptre firmly held in the gripe of the Medici, to prepare the public eye gradually for what it was soon to witness, the firm establishment of sovereignty in that House. The competition of rival citizens, and still more the wide-extended influence of religion, diffused Taste and beckoned Talent to Florence as to its centre, from every part of Italy. At her call Donatello, Brunelleschi, Ghiberti, Filarete, the Rossellini, Verrocchio arose, and with their works spread the Elements of Art.