painted some prophets and the patriarchs, with the heads of the tribes, sixteen figures in all, on an ultramarine ground, now much damaged, without other ornamentation. He next did the lower walls and pilasters with many miracles of Our Lady, and other things which may be recognised by their style. This done, he returned to Casentino, and after painting many works in Pratovecchio, Poppi, and other places of that valley, he proceeded to Arezzo, which then governed itself with a council of sixty of the richest and most honoured citizens, to whom all the affairs of the state were entrusted. Here, in the principal chapel of the Vescovado, he painted a story of St Martin, and a good number of pictures in the old Duomo, now pulled down, including a portrait of Pope Innocent VI. in the principal chapel. He next did the wall where the high altar is, and the chapel of St Maria della Neve, in the church of S. Bartolommeo, for the chapter of the canons of the Pieve, and for the old brotherhood of S. Giovanni de' Peducci he did a number of scenes from the life of that saint, which are now whitewashed over. He also did the chapel of St Christopher in the church of S. Domenico, introducing a portrait of the blessed Masuolo releasing from prison a merchant of the Fei family, who built the chapel. This saint was a contemporary of the artist, and a prophet who predicted many misfortunes for the Aretines. In the church of S. Agostino, Jacopo did some stories of St Laurence in fresco in the chapel and at the altar of the Nardi with marvellous style and skill. Since he also practised architecture, he was employed by the sixty chief citizens mentioned above to bring under the walls of Arezzo the water which comes from the slopes of Pori, 300 braccia from the city. In the time of the Romans this water had been originally brought to the theatre, traces of which still exist, and thence from its situation on the hill where the fortress now is, to the amphitheatre of the city in the plain, the buildings and conduits of this being afterwards entirely destroyed by the Goths. Thus after Jacopo had, as I have said, brought the water under the wall, he made the fountain, then known as the Fonte Guizianelli, but is now called by corruption Fonte Viniziana. It remained standing from 1354 until 1527, but no longer, because the plague of the following year, and the war which followed, deprived it of many of its advantages for the use of the gardens, particularly as Jacopo did not bring it inside, and for these reasons it is not standing to-day, as it should be.