if he had not done so, we should have been deprived of the work, for, as I have said elsewhere, the flood of 1557 carried away two arches on this side, as well as that part of the bridge on which the little church of S. Antonio was situated. After these works Antonio was invited to Pisa by the wardens of the Campo Santo, and there continued the series dealing with the life of St Ranieri, a holy man of that city, which had been begun by Simone of Siena and under his direction. In the first part of Antonio's portion of the work is a representation of the embarkation of Ranieri to return to Pisa, with a goodly number of figures executed with diligence, including the portrait of Count Gaddo, who had died ten years before, and of Neri, his uncle, who had been lord of Pisa. Another notable figure in the group is that of a man possessed, with distorted, convulsive gestures, his eyes glistening, and his mouth grinning and showing his teeth, so remarkably like a person really possessed that nothing more true or life-like can be imagined. The next picture contains three really beautiful figures, lost in wonder at seeing St Ranieri reveal the devil in the form of a cat on a tub to a fat innkeeper, who looks like a boon companion, and who is commending himself fearfully to the saint; their attitudes are excellently disposed in the style of the draperies, the variety of poses of the heads, and in all other particulars. Hard by are the maidservants of the innkeeper, who could not possibly be represented with more grace as Antonio has made them with disengaged garments arranged after the manner of those worn by the servants at an inn, so that nothing better can be imagined. Nothing of this artist gives more pleasure than the wall containing another scene from the same series in which the canons of the Duomo of Pisa, in the fine robes of the time, very different from those in use to-day and very graceful, receive St Ranieri at table, all the figures being made with great care. The next of his scenes is the death of the saint, containing fine representations not only of the effect of weeping, but of the movements of certain angels who are carrying his soul to heaven surrounded by a brilliant light, done with fine originality. In the scene where the saint's body is being carried by the clergy to the Duomo one can but marvel at the representation of the priests singing, for in their gestures, carriage, and all their movements they exactly resemble a choir of singers. This scene is said to contain a portrait of the Bavarian. Antonio likewise painted with the greatest care the miracles wrought by Ranieri when he was being carried to burial, and those wrought in another place, after his body had been deposited in the Duomo, such as blind who receive their sight, withered men who recover the use of their limbs, demoniacs who are released, and other miracles represented with great vigour. But one of the most remarkable figures