But to return to Pietro Laurati. When he had finished the picture of which we have been speaking, he painted many others for St. Peter’s at Pome; but these have all been destroyed in constructing the new buildings of St. Peter’s. He also executed certain works in Cortona and Arezzo, besides those here enumerated; with others in the church of Santa Fiora e Lucilla, a monastery of Black friars; among which is a picture, in one of the chapels, of St. Thomas placing his hand on the wound in the side of Christ.[1]
Bartolommeo Bologhini,[2] of Siena, was a disciple of Pietro Laurati. He painted many pictures in his native city and in various parts of Italy. That on the altar of the chapel of San Silvestro, in the church of Santa Croce at Florence, for example, is by his hand.[3] The works of these masters bear date about the year of our salvation 1350; and in my book, so frequently cited, is a drawing by the hand of Pietro, representing a shoemaker occupied in sewing: the features are most natural and life-like, as was indeed the manner of Pietro. The likeness of this artist, by Bartolommeo Bologhini, was to be seen some few years since in a picture at Siena; and it is from this that I have taken the one presented here.[4]
ANDREA PISANO, SCULPTOR AND ARCHITECT.
The art of painting has at no time been flourishing, without the sculptors also making admirable progress in their art at the same moment; and whoever will observe closely, shall find the works of all ages bearing testimony to the truth of this remark. And of a surety these two arts are sisters, born at the same period, nourished and guided by the same spirit. A proof of this is presented by Andrea Pisano, who, devoting himself to sculpture as Giotto did to painting, effected so important an amelioration in the art, both as to practice and theory, that he was esteemed the best master that the Tuscans had
