ther with another of spindlewood, "to be
placed in the nave where the women sit," finished and sent home in 1477,
and put up by Baccio Pontelli. Milanesi says, however, that the choir of
this Cathedral was done by Francesco di Giovanni di Matteo da Firenze,
called Il Francione. Guido da Seravallino, between 1490 and 1495, made
for the choir of the sacristy of this Cathedral more than 15
perspectives; the usual price appears to have been 11 lire. He was a
Pisan, and his father's name was Filippo. Domenico di Mariotto first
appears in the accounts in 1489, when he began the choir and seats for
the Campo Santo; he went on with various works of tarsia and carving
till 1513. He was a Florentine, but lived in Pisa for many years, dying
there in 1519. Other names which appear in the accounts are Giuliano di
Salvatore and Michele Spagnuolo. In 1486 Cristophano d'Andrea da
Lendinara and Jacopo da Villa came to make a seat for the choir, but
this does not seem to have been a success, and Il Francione, who had
been at Pisa as long before as 1462, and Baccio di Fino Pontelli, who
appears in 1471, were put in charge of the work. Giovanni Battista
Cervelliera is mentioned first in 1522. He was son of Pietro d'Altro
Pietra, a native of Corsica, who began the singing gallery of the organ
in S. Martino, Pietra Santa, finished by his son, who died in about
1570. In 1596 a great fire took place. After this the best pieces saved
were used in the decoration of the new choir, in 1606, by Pietro Giolli,
who also had some fresh ones made; others were mended by Girolamo
Innocenti, and placed round the walls and round the nave piers in 1613.
The pieces of Giuliano da Majano's work now remaining are in the side
aisles, two at the right, one at the left; one represents King David
with his harp and with a label in the other hand, "Laudate Pueri
Dominum." The other two figures are prophets, and have scrolls,
"Benedicam, benedicam," and "Ve qui condunt legem." Pontelli's Faith,
Hope, and Charity are on the pier near the Chapel of S. Ranier, three
half-length figures of women. The seated figures of the liberal arts on
the side panelling of the church are Il Francione's, women with symbols,
arithmetic, grammar, geometry, astrology, logic, and music. The great
seat in the nave is the work of Giovanni Battista del Cervelliera. In
the centre is a large round-headed panel with the Adoration of the
Magi; at each side are three lower seats with architectural s