perfect state; one day, doubtless, of the perfect world." Above this fundamental series of bas-reliefs, there runs a second series of four groups of seven. They were probably executed by pupils of Andrea Pisano, and are altogether inferior to those below--the seven Sacraments on the northern side being the best. Above are a series of heroic statues in marble. Of these the oldest are those less easily visible, on the north opposite the Duomo, representing David and Solomon, with two Sibyls; M. Reymond ascribes them to Andrea Pisano. Those opposite the Misericordia are also of the fourteenth century. On the east are Habakkuk and Abraham, by Donatello (the latter in part by a pupil), between two Patriarchs probably by Niccolò d'Arezzo, the chief sculptor of the Florentine school at the end of the Trecento. Three of the four statues opposite the Baptistery are by Donatello; figures of marvellous strength and vigour. It is quite uncertain whom they are intended to represent (the "Solomon" and "David," below the two in the centre, refer to the older statues which once stood here), but the two younger are said to be the Baptist and Jeremiah. The old bald-headed prophet, irreverently called the _Zuccone_ or "Bald-head," is one of Donatello's masterpieces, and is said to have been the sculptor's own favourite creation. Vasari tells us that, while working upon it, Donatello used to bid it talk to him, and, when he wanted to be particularly believed, he used to swear by it: "By the faith that I bear to my Zuccone." * * * * * [Illustration: THE BIGALLO] At the end of the Via Calzaioli, opposite the Baptistery, is that little Gothic gem, the Loggia called the _Bigallo_, erected between 1352 and 1358, for the "Captains of Our Lady of Mercy," while Orcagna was rearing his more gorgeous tabernacle for the "Captains of Our Lady of Or San Michele." Its architect is unknown; his manner resembles Orcagna's, to whom the work has been erroneously ascribed. The Madonna is by Alberto Arnoldi (1361). The Bigallo was intended for the public functions of charity of the foundling hospital, which was founded under the auspices of the Confraternity of the Misericordia, whose oratory is on the other side of the way. These Brothers of Mercy, in their mysterious black robes hiding their faces, are familiar enough even to the most casual visitor to Florence; and their work of succour to the sick and injured has gone on uninterruptedly throughout the whole of Florentine history. * * * * *