cie buona e pura.
Levate gli occhi del vostro intelletto
Considerate quanto e ordinato
Lo mondo universale; e con affetto
Lodate lui che l' ha si ben creato:
Pensate di passare a tal diletto
Tra gli angeli, dove e ciascun beato.
Per questo mondo si vede la gloria,
Lo basso, e il mezzo, e Palto in questa storia."

It was indeed bold of Buonamico to set himself to make a God the
Father five braccia high, the hierarchy, the heavens, the angels, the
zodiac, and all the things above to the sky of the moon, and then the
element of fire, the air, the earth, and finally the centre. For the
two lower corners he did a St Augustine and a St Thomas Aquinas. At
the top of this Campo Santo, where the marble tomb of the Corte now
is, Buonamico painted the Passion of Christ, with a great number of
figures on foot and on horse, all in varied and beautiful attitudes,
and in conformity with the story. He also did the Resurrection and
the Apparition of Christ to the apostles very satisfactorily. When he
had completed these labours, and had at the same time spent
everything that he had gained at Pisa, which was not a little, he
returned to Florence as poor as he had left it, and there he did many
pictures and works in fresco, which it is not necessary to describe
further. When his close friend Bruno, with whom he had returned from
Pisa after squandering everything, was employed to do some works in
S. Maria Novella, because he had not much skill in design or
invention, Buonamico designed for him all that he afterwards did for
a wall of that church opposite the pulpit, filling the space between
column and column. This was the story of St Maurice and his
companions, who were beheaded for the faith of Jesus Christ. Bruno
executed this work for Guido Campese, then constable of the
Florentines. The artist took his portrait before his death, in the
year 1320, and afterwards put it in this work, as an armed man, as
was customary in those days, and behind him he made an array of
warriors, all armed in the antique style, forming a fine spectacle,
while Guido himself kneels before Our Lady, who has the child Jesus
in her arms while St Domenic and St Agnes, who are on either side of
her, intercede for him. Although this painting is not remarkable for
its design and invention, yet it is worthy of some amount of praise,
chiefly on account of the va