There is little individuality in the followers of Giotto, who carried on his tradition and worked in his manner. They are very much below their master, and are often surpassed by the contemporary painters of Siena, such as Simone Martini and Ambrogio Lorenzetti. Taddeo Gaddi and his son, Agnolo, Giovanni di Milano, Bernardo Daddi, are their leaders; the chief title to fame of the first-named being the renowned Ponte Vecchio. But their total achievement, in conjunction with the Sienese, was of heroic magnitude. They covered the walls of churches and chapels, especially those connected with the Franciscans and Dominicans, with the scenes of Scripture, with the lives of Madonna and her saints; they set forth in all its fullness the whole Gospel story, for those who could neither read nor write; they conceived vast allegories of human life and human destinies; they filled the palaces of the republics with painted parables of good government. "By the grace of God," says a statute of Sienese painters, "we are the men who make manifest to the ignorant and unlettered the miraculous things achieved by the power and virtue of the Faith." At Siena, at Pisa and at Assisi, are perhaps the greatest works of this school; but here, in Santa Croce and Santa Maria Novella, there is much, and of a very noble and characteristic kind. Spinello Aretino (1333-1410) may be regarded as the last of the Giotteschi; you may see his best series of frescoes in San Miniato, setting forth with much skill and power the life of the great Italian monk, whose face Dante so earnestly prayed to behold unveiled in Paradise. This heroic age of sculpture and painting culminated in Andrea Orcagna (1308-1368), Andrea Pisano's great pupil. Painter and sculptor, architect and poet, Orcagna is at once the inheritor of Niccolò and Giovanni Pisano, and of Giotto. The famous frescoes in the Pisan Campo Santo are now known to be the work of some other hand; his paintings in Santa Croce, with their priceless portraits, have perished; and, although frequently consulted in the construction of the Duomo, it is tolerably certain that he was not the architect of any of the Florentine buildings once ascribed to him. The Strozzi chapel of St Thomas in Santa Maria Novella, the oratory of the Madonna in San Michele in Orto, contain all his extant works; and they are sufficient to prove him, next to Giotto, the greatest painter of his century, with a feeling for grace and beauty even above Giotto's, and only less excellent in marble. Several of his poems have been preserved, mostly of a slightly satirical character; one, a sonnet on the nature of love, _Molti volendo dir che fosse Amore_, has had the honour of being ascribed to Dante.