While these works were proceeding, he did not entirely abandon painting, but executed in tempera a picture of Our Lady for the high altar of S. Pancrazio, with St John the Baptist, St John the Evangelist, the brothers St Nereus, Achilleus, and Prancrazius, and other saints hard by. But the best part of this work, and indeed the only part of it which is really good, is the predella filled with small figures, divided into eight scenes dealing with the Madonna and St Reparata. Subsequently in a picture for the high altar of S. Maria Novella at Florence, executed for Barone Capelli in 1348, he made a very fair group of angels about a Coronation of the Virgin. Shortly afterwards he painted in fresco a series of subjects from the life of the Virgin in the Pieve of Prato, which had been rebuilt under the direction of Giovanni Pisano in 1312, as has been said above, in the chapel where Our Lady's girdle was deposited, and he did a number of other works in other churches of that same country which is full of very considerable monasteries and convents. In Florence he next painted the arch over the gate of S. Romeo, and in Orto S. Michele did in tempera a Christ disputing with the doctors in the temple. At the same time for the enlargement of the piazza of the Signori a large number of buildings was pulled down, and notably the church of S. Romolo, which was rebuilt from Agnolo's plans. In the churches of this city many pictures by his hand may be seen, and a quantity of his works may be met with in the lordship. These he produced with great advantage to himself, although he worked rather for the sake of following in the steps of his ancestors than from any inclination of his own; for he had devoted all his attention to trading, which was of great service to him, as appeared when his sons, who did not wish to live by painting any longer, devoted themselves entirely to commerce, opening an establishment at Venice in conjunction with their father, who after a certain time abandoned painting altogether, only to take it up as an amusement and pastime. By dint of trading and practising his art, Agnolo had amassed considerable wealth when he came to die in the sixty-third year of his life, succumbing to a malignant fever which carried him off in a few days. His pupils were Maestro Antonio da Ferrara, who did many fine works in Urbino and at Citta di Castello, and Stefano da Verona, who painted with the greatest perfection in fresco, as may be seen in several places in his native Verona, and at Mantua, where his works are numerous. Among other things he excelled in beautifully rendering the expressions of the faces of children, women and old men, as his works show, which were all imitated and copied by that Piero da Perugia, miniature painter, who illuminated all the books in the library of Pope Pius in the Duomo of Siena, and who was a skilful colourist in fresco. Other pupils of Agnolo were Michaele da Milano and his own brother