and Tommaso; more of their works might be noticed; but they need not be alluded to further, the object ofthe foregoing sketch being only to trace the general course of Pisan sculpture, its rise under Andrea to a level with the progress of Giotto, and its subsequent fall. It might be necessary, were it the aim of these pages to write the history of sculpture, to notice the works of Giovanni di Bal- duccio who is the author of various fine sculptures under taken for and in the time of Azzo Visconti, — the arch of S. Peter Martyr at S. Eustorgio, the gate of S. Maria in Brera in Milan, the pulpit in the church of S. Maria del Prato at S. Casciano, and the tomb of Guarnerio di Castruccio of Lucca at S. Francesco near Sarzana, all completed in the first half of the fourteenth century and inscribed with the sculptor’s name. It might be well to mention the works of Alberto Arnoldi, who executed, above the altar of the church of the Misericordia at Flo rence, a madonna assigned by Vasari to Andrea Pisano, and who laboured up to 1362 in the Duomo of Florence; — Cellino di Nese of Sienna, who planned and carried out the tomb of Cino d’Angibolgi in the chapel of S. Ja copo of Pistoia, and who worked in 1359 in the Campo Santo of Pisa; — Tino di Camaino author of the tomb of Henry the Seventh in the cathedral of Pisa; — Agos- tino and Agnolo of Sienna sculptors of many fine monu ments. To dwell upon the peculiar merits or defects of these men would be outside the aim and purpose of these pages. VOL. i. 23