rious attitudes; all are weeping, some pressing their hands to
their breasts, some crossing them, and some beating their hands,
showing the extremity of their grief at the death of the Son of God,
and all melt into the air, from the middle downwards, or from the
middle upwards. In this work which is well executed in fresh and
vivacious colouring, the joints of the lime are so well made that it
looks as if it had all been done in a single day: in it I have found
the arms of Walter, Duke of Athens, but as it contains no date or
other writing, I cannot affirm that it was executed by command of
that prince. But besides the fact that everyone considers it to be by
Pietro's hand, the style alone is a sufficient indication, while it
seems most probable that the work was made by Pietro at the duke's
command seeing that the painter flourished at the time when the duke
was in Italy. Be that as it may, the painting is certainly admirable
for an antique production, and its style, besides the common report,
proclaims it as being by Pietro's hand. In the church of S. Marco at
Orvieto, which contains the most holy relic of the Corporale, Pietro
executed in fresco some scenes of the life of Christ and of His body,
with much diligence. It is said that he did this for M. Benedetto,
son of M. Buonconte Monaldeschi, at that time lord and tyrant of the
city. Some further affirm that Pietro made some sculptures with
success, because he excelled in whatever he set himself to do, and
that the Crucifix which is in the great church of S. Paolo outside
Rome is by him. This is said to be the same one that spoke to St
Brigida in the year 1370, and we are bound to believe it. By the same
hand were some other things in that style which were thrown down when
the old church of St Peter's was destroyed to make the new one.

Pietro was very diligent in all his efforts and endeavoured steadily
to do himself honour and to acquire fame in art. Not only was he a
good Christian, but very devoted and kind to the poor, and beloved
for his goodness, not only in his native city of Rome, but by every
one who knew him or his works. In his extreme old age he devoted
himself so thoroughly to religion, leading an exemplary life, that he
was considered almost a saint. Thus there is no cause for marvel if
his crucifix spoke to the saint, as is said, nor that a Madonna, by
his hand, has worked and still works miracles. I do not propose to
speak of this work, although it