The history is thus brought down to 1249, where a gap occurs extending to 1285, from which year the author continues his narrative to 1303.[36] But in this second part the character of the work is entirely changed. Having no longer Martin Polono as a guide, he now forsakes that prelate's method. The affairs of the Empire and the Church are reduced to still smaller proportions, more space is given to those of Florence, and instead of being scattered haphazard over the narrative, they are now united and carried steadily on. Thus we see a real chronicle of Florence gradually developing before us and acquiring a special value of its own. Its discoverer, Dr. Hartwig, at first considered it an autograph, but finally conceived doubts on that score. The great disorder of the manuscript; its mutilated commencement; the gap between thirty-six years in the middle; the absence of certain records, comprised in certain excerpts from it, quoted by old writers; the discovery that many of these writers quoted from another MS. of the Chronicle belonging to the Gaddi Library; all this justified his statement that the problem could not be finally solved without the aid of the Gaddi Codex, which he had not yet been able to discover. On the other hand, Professor Santini maintained, in a prize essay, that the Gaddi Codex could only be a copy of that found by Hartwig, and that the latter must be the mutilated original manuscript. After a short time the question was ultimately decided by another student of our Istituto Superiore, Signor Alvisi, who, having unearthed the Gaddi Codex in the Laurentian Library, found it to be a fifteenth-century copy.[37] Here the various fragments--arranged in separate columns in the original MS.--are joined with the remainder of the text, though often in an arbitrary fashion. Here, too, there is the gap between 1249-85, but the Chronicle, instead of starting from 1181, begins, like Martin Polono's first compilation, with Jesus Christ--_primo e sommo Pontefice_--and the Emperor Octavian. Thus, it may now be affirmed, that the Codex in the Florence National Library is a genuine and, as it were, photographic representation of the method employed for the earliest compilations of Florentine historiography. It allows us to see the author at work, as it were, before our eyes.