and Buonamico his master, had begun the scenes in this bad style. Accordingly he continued that style in the Campo Santo, and made in fresco a Madonna above the principal door on the inside. She is borne to heaven by a choir of angels, who sing and play so realistically that they exhibit all the various expressions which musicians are accustomed to show when playing or singing, such as bending the ear to the sound, opening the mouth in various ways, raising the eyes to heaven, puffing the cheeks, swelling the throat, and in short all the movements which are made in music. Under this Assumption, in three pictures, he did the life of St Ranieri of Pisa. In the first is the youth playing the psalter, to the music of which some little children are dancing,--very beautiful for the arrangement of the folds, the ornamentation of the clothes, and the head-dresses of those times. The same Ranieri is next seen rescued from such lasciviousness by St Albert the hermit. He stands weeping with his face down, and his eyes red with tears, full of repentance for his sin, while God in the air, surrounded by a heavenly light, makes as if to pardon him. The second picture represents Ranieri distributing his property among God's poor, then mounting into a barque he has about him a throng of poor and maimed, of women and children, anxiously pressing forward to petition and to thank him. In the same picture is when the saint after receiving the pilgrim's dress in the church, stands before Our Lady, who is surrounded by many angels, and shows him that he shall rest, in her bosom at Pisa. The heads of all these figures are vigorous with a fine bearing. The third picture represents the saint's return after seven years from beyond the sea, where he had spent three terms of forty days in the Holy Land, and how while standing in the choir and hearing the divine offices where a number of boys are singing, he is tempted by the devil, who is seen to be repelled by the firm purpose guiding Ranieri not to offend God, assisted by a figure made by Simone to represent Constancy, who drives away the ancient adversary represented with fine originality not only as terrified, but holding his hands to his head in his flight, with his head buried as far as possible in his shoulders, and saying, according to the words issuing from his mouth: "I can do no more." The last scene in the same picture is when Ranieri kneeling on Mount Tabor sees Christ miraculously in the air with Moses and Elias. All the parts of this work and other things which concern it show that Simone was very ingenious, and understood the good method of composing figures lightly in the style of the time. When these scenes were finished he made two pictures in tempera in the same city, assisted by Lippo Memmi his brother, who had also helped him to paint the chapter-house of S. Maria Novella and other works. Although Lippo did not possess Simone's genius, yet he followed his style so