lived in houses of his own: first, in the district of Camollia; and latterly, in that of the Rialto in Siena. 32. 1483. _Neroccio di Bartolommeo di Benedetto Landi._ This great artist was equally celebrated, both as sculptor and painter. He belonged to the noble family of Landi, who are described as “_of Poggio Malevolti_”, to distinguish them from the family of Landi _Sberghieri_. He was born in 1447, and died in 1500. He was twice married: first, to Elisabetta, daughter of Antonio Cigalini, who died in 1483; and, secondly, in 1493 to Lucrezia, daughter of Antonio Paltoni, who bore him several sons, one of whom was a painter as was his father.[198] Many of his pictures and statues still exist in Siena, in the places for which he designed them. In 1475, he appears to have quarrelled with Francesco di Giorgio; a dispute that was settled by the kindly offices of Sano di Pietro and Lorenzo di Pietro (_Il Vecchietta_). In the following year we find the same Sano di Pietro, with Francesco di Giorgio, valuing a picture, painted by Neroccio, for a certain Bernardino Nini. In the records of the Oratorio di Sta. Caterina in Fontebranda,[199] we find that this artist was paid 31 lire, for a wooden statue of the Saint, which still stands over the altar in that Chapel. In 1481, he was engaged to work for the Duke of Calabria, and also for the Abbot of the Benedictine Convent at Lucca. In 1484–85, he received the commission (originally given to Vito di Marco and Lucillo, but cancelled through the absence of the former, and the death of the latter), to execute the tomb of Bishop Tommaso del Testa Piccolomini.[200] This tomb is now over the door, leading from the Cathedral to the stairs of the Campanile. In 1487, he was also directed to make the beautiful statue of S. Catherine of Alexandria for the Chapel of S. Giovanni in the Duomo; but his death left the work unfinished. We find two notices with reference to this work, dated 5th of February, 1487–88, and 21st of August, 1502[201] respectively: the first recording the payment of an advance of 40 lire to the painter himself, and the other of a further payment (in accordance with the valuation of Giacomo Cozzarelli and Ventura di Ser Giuliano) of 202 lire more to his heirs. These heirs, as we have seen above, also had a lawsuit over another unfinished work of his, with one of his pupils, Giovanni Battista di Bartolommeo Alberti. Milanesi quotes some interesting documents in connection with this lawsuit in his notes.[202] The names of some of his pupils, besides the above-mentioned Giovanni Battista di Bartolommeo Alberti are as follows: Giovanni di Tedaldo, Leonardo di Ser Ambrogio de’ Maestrelli,[203] Taldo di Vittore, and Achille di Pietro di Paolo del Crogio.[204] 33. 1483. _Guidoccio di Giovanni Cozzarelli._