and with other stones of price, but also with mosaic and ornaments of bronze, the best that could be desired, so that in workmanship and material it should surpass every other work produced up to that day. The execution of this was entrusted to Orcagna as being the foremost man of the age. He made a number of designs, one of which was chosen by the directors of the work as being the best of all. Accordingly the task was allotted to him and everything was committed to his judgment and counsel. He and his brother undertook to do all the figures, giving the rest to various masters from other countries. On the completion of the work, he caused it to be built up and joined together very carefully without lime, the joints, being of lead and copper so that the shining and polished marbles should not be blemished. This proved so successful and has been of such use and honour to those who came after him, that it appears to an observer that the chapel is hollowed out of a single piece of marble, so excellently are parts welded together, thanks to this device of Orcagna. Although in the German style its grace and proportions are such that it holds the first place among the things of the time, owing chiefly to the excellent composition of its great and small figures and of the angels and prophets in half-relief about the Madonna. The casting of the carefully polished bronze ornaments which surround it is marvellous, for they encircle the whole work, enclose it and bind it together, so that this part is as remarkable for its strength as the other parts are for their beauty. But he devoted the highest powers of his genius to the scene in half-relief on the back of the tabernacle, representing in figures of a braccia and a half, the twelve apostles looking up at the Madonna ascending to heaven in a mandorla, surrounded by angels. He represented himself in marble as one of the apostles, an old man, clean shaven, a hood wound round his head, with a flat round face as shown in his portrait above, which it taken from this. On the base he wrote these words in the marble: _Andreas Cionis pictor florentinus oratorii archimagister extitit hujus, MCCCLIX_. It appears that the erection of the loggia and of the marble tabernacle, with all the workmanship involved cost 96,000 gold florins, which were very well expended, because in architecture, in sculpture and other ornaments they are comparable in beauty with any other work of the time, without exception, and so excellent as to assure to the name of Andrea Orcagna immortality and greatness. In signing his paintings he used to write Andrea di Clone, sculptor, and on his sculptures, Andrea di Cione, painter, wishing his sculpture to recommend his painting and his painting his sculpture. Florence is full of his paintings, some of which may be recognised by the name, such as those in S. Romeo, and some by his style, like that in the chapter-house of the monastery of the Angeli.