He and his brother Bernardo also painted in fresco together the facade of S. Apollinare, with such diligence that the colours are bright and beautiful and marvellously preserved to this day in that exposed place. The governors of Pisa, moved by the renown of these works of Orcagna, which were much admired, sent for him to do a part of the wall in the Campo Santo of that city, as Giotto and Buffalmacco had previously done. Accordingly he put his hand to the work, and painted a Last Judgment, with some fancies of his own, on the wall towards the Duomo, next to the Passion of Christ made by Buffalmacco. In the first scene he represented all ranks of temporal lords enjoying the pleasures of this world, seating them in a flowery meadow under the shadow of many orange trees, forming a most agreeable wood. Above the branches are some cupids, who are flying round and over a number of young women, evidently portraits of noble women and ladies of the day, though they are not recognisable after this lapse of time. The cupids are preparing to transfix the hearts of the ladies, near whom are young men and lords listening to playing and singing and watching the amorous dancing of men and maidens, delighting in the sweetness of their loves. Among these lords Orcagna drew Castruccio, the lord of Lucca, a youth of the most striking aspect, with a blue hood bound about his head and a sparrowhawk on his hand. Near him are other lords of the time, whose identity is not known. In fine, in this first part he represented in a most gracious manner all the delights of the world in accordance with the demands of the place and the requirements of art. On the other side of the same scene he represented, on a high mountain, the life of those who, being moved by penitence for their sins and by the desire of salvation, have escaped from the world to this mountain, which is thus full of holy hermits serving the Lord, and doing various things with very realistic expressions. Some are reading and praying, and are all intent on contemplation; while others are working to earn their living, and are exercising themselves in various activities. Here is a hermit milking a goat in the most vigorous and realistic manner. Below this is St Macario showing to three kings, who are riding to hunt with their ladies and suite, the corpses of three kings, partly consumed in a tomb, emblematic of human misery, and which are regarded with attention by the living kings in fine and varied attitudes, expressive of wonder, and they seem to be reflecting that they themselves must shortly become such. One of these kings is the portrait of Uguccione della Faggiuola of Arezzo, in a figure represented as holding his nose with his hand in order not to smell the odour of the dead kings. In the middle of this scene is Death, flying through the air and clothed in black, while he raises his scythe to take the life of many who are on the earth, of