ous memory. When the stories on
the facade were finished, Bruno painted in the same church, an
altar-piece of St. Ursula, with her company of virgins. In one hand of
the saint, he placed a standard bearing the arms of Pisa--a white cross
on a field of red; the other is extended towards a woman, who, climbing
between two rocks, has one foot in the sea, and stretches out both hands
towards the saint, in the act of supplication. This female form
represents Pisa. She bears a golden horn upon her head, and wears a
mantle sprinkled over with circlets and eagles. Being hard pressed by
the waves, she earnestly implores succor of the saint.

While employed on this work, Bruno complained that his faces had not
the life and expression which distinguished those of Buonamico, when the
latter, in his playful manner, advised him to paint words proceeding
from the mouth of the woman supplicating the saint, and in like manner
those proceeding from the saint in reply. "This," said the wag, "will
make your figures not only life-like, but even eloquently expressive."
Bruno followed this advice; "And this method," says Vasari, "as it
pleased Bruno and other dull people of that day, so does it equally
satisfy certain simpletons of our own, who are well served by artists as
commonplace as themselves. It must, in truth, be allowed to be an
extraordinary thing that a practice thus originating in jest, and in no
other way, should have passed into general use; insomuch that even a
great part of the Campo Santo, decorated by much esteemed masters, is
full of this absurdity." This picture is now in the Academy of the Fine
Arts at Pisa.

UTILITY OF ANCIENT WORKS.

The works of Buffalmacco greatly pleased the good people of Pisa, who
gave him abundant employment; yet he and his boon companion Bruno,
merrily squandered all they had earned, and returned to Florence, as
poor as when they left that city. Here they also found plenty of work.
They decorated the church of S. Maria Novella with several productions
which were much applauded, particularly the Martyrdom of St. Maurice
and his companions, who were decapitated for their adherence to the
faith of Christ. The picture was designed by Buonamico, and painted by
Bruno, who had no great power of invention or design. It was painted for
Guido Campere, then constable of Florence, whose portrait was introduced
as St. Maurice.--The martyrs are led to execution by a troop of
soldiers, armed in the ancien