e he never abandoned the study of one
of his three professions when he took up another, he painted a
picture in tempera with many small figures while the loggia was
building, and a predella of small figures for that chapel of the
Strozzi where his brother Bernardo had already done some things in
fresco. On this picture he wrote his name thus: _Anno Domini
MCCCLVII Andreas Cionis de Florentia me pinxit_, being of opinion
that it would exhibit his powers to better advantage than his works
in fresco could. When this was finished he did some paintings on a
panel which were sent to the pope to Avignon, in the cathedral church
of which they still remain. Shortly afterwards, the men of the
company of Orsanmichele, having collected a quantity of money of alms
and goods given to the Madonna there on account of the mortality of
1348, they decided that they would make about her a chapel or
tabernacle richly adorned not only with marble carved in every manner
and with other stones of price, but also with mosaic and ornaments of
bronze, the best that could be desired, so that in workmanship and
material it should surpass every other work produced up to that day.
The execution of this was entrusted to Orcagna as being the foremost
man of the age. He made a number of designs, one of which was chosen
by the directors of the work as being the best of all. Accordingly
the task was allotted to him and everything was committed to his
judgment and counsel. He and his brother undertook to do all the
figures, giving the rest to various masters from other countries. On
the completion of the work, he caused it to be built up and joined
together very carefully without lime, the joints, being of lead and
copper so that the shining and polished marbles should not be
blemished. This proved so successful and has been of such use and
honour to those who came after him, that it appears to an observer
that the chapel is hollowed out of a single piece of marble, so
excellently are parts welded together, thanks to this device of
Orcagna. Although in the German style its grace and proportions are
such that it holds the first place among the things of the time,
owing chiefly to the excellent composition of its great and small
figures and of the angels and prophets in half-relief about the
Madonna. The casting of the carefully polished bronze ornaments which
surround it is marvellous, for they encircle the whole work, enclose
it and bind it together, so tha