tion, well-draped figures with simple folds of the clothes,
and a majesty in the carnage of the heads, while the disposition of
the figures is in the finest style. During the progress of this work,
which introduced the good style of painting to Siena, being the first
gleam of light for the many fine spirits who have flourished in that
land in every age, Pietro was summoned to Monte Oliveto di Chiusuri,
where he painted a picture in tempera which is now placed in the
paradiso under the church. He next painted a tabernacle at Florence,
opposite the left door of the church of S. Spirito, on the side where
a butcher's shop now stands, which merits the highest praise from
every attentive artist, on account of the grace of the heads and the
smoothness which it exhibits. Proceeding from Florence to Pisa, he
did for the Campo Santo on the wall next the principal door, all the
life of the Holy Fathers, with such striking reality and in such fine
attitudes, that they rival Giotto. For this work he won the highest
praise, having expressed in some heads, in drawing and colour, all
the vivacity of which the manner of the time was capable. From Pisa
he passed to Pistoia, and in S. Francesco did a picture of Our Lady
in tempera, surrounded by some angels, very well arranged, the
predella beneath containing some scenes with small figures, presented
with a vigour and life remarkable for those times. This work
satisfied him as much as it delighted others, and accordingly he put
his name to it in these words: _Petrus Laurati de Senis_. Afterwards,
in the year 1355, Pietro was summoned to Arezzo by M. Guglielmo, head
priest, and by Margarito Boschi and the other wardens of the Pieve
of Arezzo. This church had been brought to an advanced stage in a
better style and manner than had been practised in Tuscany up to that
time, being ornamented with squared stones and carvings by the hand
of Margaritone, as has been said. There Pietro painted in fresco the
tribune and all the great apse of the chapel of the high altar,
representing twelve scenes from the life of Our Lady, with life-size
figures, from the chasing of Joachim out of the Temple, to the birth
of Jesus Christ. In these works in fresco one meets with the ideas,
lineaments, carriage of the heads, and attitudes of the figures
characteristic of Giotto, his master. And although the whole of this
work is beautiful, yet the paintings in the vault of the apse are
certainly much better than