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works employed strangers from Sienna rather than en trust their commissions to native artists. Thus, in the early part of the fourteenth century, the Lorenzetti il lustrated hermit life on the walls of the Campo Santo; and though Vasari affirms that Orcagna took a great part in the production of that series, there is little doubt, that he committed in this statement one of the blunders which are so frequent in his biographies. Whatever may have been the adornments of the walls in addition to the frescos of the Lorenzetti, and whoever may have been employed to execute them; or whether such adornments ever existed, it is impossible now to say. But, towards the close of the century, the want of com petent artists at Pisa was still sensibly felt, and many from distant parts of Italy were sent for in succes sion. Yet in no instance were the persons engaged of high renown. As, in the earliest days, neither Giotto nor Simone could be secured by the Pisans, either because these artists were too much in demand elsewhere, or because the price they claimed was too high for Pisan purses: so, later, none of the great Florentines were employed. In 1370, the frescos of the trials of Job were produced, as it is now believed, by Francesco of Volterra, a painter who had long been settled at Pisa; who, as early as 1358, had been elected one of the great council of the people, 1 and, in 1346, had already executed an altarpiece for the cathedral.' 2 Had the records of the Campo Santo been searched with care previous to the destruction of their old bindings, 3 more certainty might exist as to the authorship of these frescos, which were long assigned to Giotto. Some of the bindings contained entries of payments to artists for work in the Campo Santo, and one, amongst others, to the following effect: “The story of Job in the Campo Santo was commenced 1 Bonaini. Memorie,ub.sup. p. 94. *“Memoriale” of the opera of the Duomo. The value of the altarpiece is given at 67 florins 8 den. 3 Which took place in 1802—3.