iginally brought to the theatre, traces of which still
exist, and thence from its situation on the hill where the fortress
now is, to the amphitheatre of the city in the plain, the buildings
and conduits of this being afterwards entirely destroyed by the
Goths. Thus after Jacopo had, as I have said, brought the water
under the wall, he made the fountain, then known as the Fonte
Guizianelli, but is now called by corruption Fonte Viniziana. It
remained standing from 1354 until 1527, but no longer, because the
plague of the following year, and the war which followed, deprived it
of many of its advantages for the use of the gardens, particularly as
Jacopo did not bring it inside, and for these reasons it is not
standing to-day, as it should be.

Whilst Jacopo was engaged in bringing water to the city he did not
abandon his painting, and in the palace which was in the old citadel,
destroyed in our day, he did many scenes of the deeds of the Bishop
Guide and of Piero Sacconi, who had done great and notable things for
the city both in peace and war. He also did the story of St Matthew
under the organ in the Pieve, and a considerable number of other
works. By these paintings, which he did in every part of the city, he
taught Spinello of Arezzo the first principles of that art which he
himself had learned from Agnolo, and which Spinello afterwards taught
to Bernardo Daddi, who worked in the city and adorned it with many
fine paintings, which, united to his other excellent qualities,
brought him much honour among his fellow-citizens, who employed him a
great deal in magistracies and other public affairs. The paintings of
Bernardo were numerous and highly valued, first in St Croce, the
chapel of St Laurence and those of St Stephen of the Pulci and
Berardi, and many other paintings in various other parts of that
church. At length, after he had painted some pictures on the inside
of the gates of the city of Florence, he died, full of years, and was
buried honourably in S. Felicita in the year 1380.

To return to Jacopo. In the year 1350 was founded the company and
brotherhood of the Painters. For the masters who then flourished,
both those who practised the old Byzantine style and those who
followed the new school of Cimabue, seeing that they were numerous,
and that the art of design had been revived in Tuscany and in their
own Florence, created this society under the name and protection of
St Luke the Evangelist, to render prai