m of the lion rampant with two tails, as any attentive observer
may see. For the same duke Andrea made many towers about the city,
and not only began the fine gate of S. Friano, leaving it in its
present form, but also made the walls of the portals and all the
gates of the city, and the smaller gates for the convenience of the
people. And, because the duke purposed to make a fortress on the hill
of S. Giorgio, Andrea prepared a model for it, which was never used,
as the work was not begun, the duke being driven out in the year
1343. The duke's plan to convert the palace into a strong castle was
in great measure effected, for a considerable addition was made to
the original building, as may be seen to-day, the circuit comprising
the houses of the Filipetri, the tower and houses of the Amidei, and
Mancini, and those of the Bellaberti. And because, after this great
undertaking was begun, all the materials required for it and for the
great walls and barbicans were not ready, he kept back the building
of the Ponte Vecchio, which was being hurried forward as a necessary
thing, and made use of the dressed stones and timber designed for
this without any consideration. Although Taddeo Gaddi was probably
not inferior to Andrea Pisano as an architect, the duke would not
employ him on these works because he was a Florentine, but made use
of Andrea. The same Duke Walter wished to pull down S. Cicilia, in
order to obtain a view of the Strada Romana and the Mercato Nuovo
from his palace, and would also have destroyed S. Piero Scheraggio
for his convenience, but the Pope would not grant him licence. At
length, as has been said above, he was driven out by the fury of the
people.

For his honoured labours of so many years Andrea not only deserved
the highest rewards, but also civil honours. Accordingly he was made
a Florentine citizen by the Signoria, offices and magistracies in the
city were given to him, and his works were valued during his life and
after his death, as no one was found to surpass him in workmanship
until the advent of Niccolo of Arezzo, Jacopo della Quercia of Siena,
Donatello, Filippo di Ser Brunellesco, and Lorenzo Ghiberti, whose
sculptures and other works were such that people recognised in what
error they had been living up till then, as these men had again
discovered the true excellence which had been hidden for so great a
number of years. The works of Andrea were executed about the year of
grace 1340.

The pu