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452 EARLY CHRISTIAN ART. Chap. XIX. elusive to show that Vasari, in his usual haste, having heard that one Andrea, a Florentine, had painted at Pisa, and not knowing which of the frescos he should assign to the person whom he confounded with Orcagna, chose the series of the triumph of death, and the Last Judg ment, careless as to whether the style or execution of these works should justify him in his supposition. The world has long been deceived by his biography; but the clouds are slowly falling away from the art history of Italy, and the errors of Vasari require and receive cor rection. If it be admitted that Pisa owes nothing to Orcagna, the statement that he painted in S. Croce fres cos which were copies of those of the Campo Santo falls to the ground. 1 The remaining works assigned to An drea at Florence have disappeared in the progress of time. 2 Orcagna, who, according to tradition, was a poet and whose name appears in certain sonnets by Burchielli, 3 died at Florence in the Via de’ Corazzai. Bernardo Orcagna occupies a very large place, as has been remarked, in the life of Andrea. It would seem, at first, as if the latter had been but the assistant of his elder brother; yet it is strange, that no pictures have hitherto been noticed bearing Bernardo’s name. Pictu res exist, however, signed by “Bernardus de Florentia,” but the question which still remains unanswered is, whether this Bernardus is identical with Bernardo the son of Cione the goldsmith, and brother of Andrea Orcagna. To decide this question, it would be useful to trace some frescos in which Bernardo laboured alone. Those of the Campo 1 Yas. Vol. II. p. 128. 2 Those in the Cappella de’ Cresci at S. Maria de’ Servi are gone (Ibid. p. 123—4), and like wise the picture of S.Romeo (Ibid, p. 124). It represented the annun ciation and was known to Rich a, (Chiese. ub. sup. Vol. I. p. 258), the paintings on the front of S. Apollinare (Ibid. p. 124), the pictu res said to have been sent to Avig non (Ibid, p 131), and that which adorned the chapterhouse of the monastery of the Angioli (Ibid, p. 134). Gone also are the fres cos noticed by Ghiberti in 8. Croce and in S. Agostino. (Ghiberti. 2 d comment. inVas. Vol. I. p. XXIII.) 3 See annot. to Vasari. Vol.II. p. 134.