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done di Buoncristiano, his son Colino, 1 Vivaldo and Paganello, 2 all living at the beginning of the fourteenth century. Yet of pictures, as old as the thirteenth century, Pisa possesses few; and these are by no means productions of merit. The oldest that can be pointed out is perhaps a Virgin and child in the Academy of Pisa, with S. Mar tin on horseback on the pediment, and incidents of the life of the Saviour at each side. This picture, assigned to Cimabue has something of his manner in the action of the ugly infant Saviour, whilst the Virgin betrays, in the depressed nose and black outlines, the hand of one continuing the style of Giunta. Another picture in five arched compartments in the same academy, representing half figures of the Saviour in the act of benediction be tween the Virgin and S. John Evangelist, S. Sylvester, and S. Catherine, has been assigned to Giunta, 3 but dis plays the defects common to the beginning of the fourteenth century, combined with that lighter style of colouring which may already be noticed in the latest work of the Lucchese, Deodato Orlandi. Nor indeed is there much difference, in the mode of drawing the sharp features and ugly hands of the Redeemer, between this and the third rate productions of the painters of Lucca. 4 Pisa therefore in the thirteenth century, though great for its school of sculpture, was feeble as regards painting. Her artists produced, besides crucifixes, vast works such as those of S. Pietro in Grado and Assisi; but they dis played no peculiarities which can be called exclusively Pisan. They betrayed on the contrary a character com mon to painters throughout the whole of Italy, to the artists of Parma, of S. Angelo near Capua, and even of Rome. The list might be increased indeed by the pro- above the portal of the Duorao. Bonaini. p.p. 88. 89. 1 The first is known as a painter of banners, the second had more extensive employment. Bonaini, p. 90. 2 The latter, alive 1304, the for mer dead in the same year. Ib. p. 94. 3 Morrona. Pis. Illust.Vol.il. p. 142. This picture was, in Mor- rona’s time, in the church of S. Sil- vestro of Pisa. 4 The tones of the draperies in
