Page:The painters of Florence from the thirteenth to the sixteenth century (1915).djvu/89

1430] in 1362, but his numerous engagements in Florence compelled him to give up the office. In 1368, a dangerous illness forced him to leave the completion of an altar-piece, ordered by the Guild of Money-changers for Or' San Michele, to his brother Jacopo, and before the end of the year he died, leaving a son who became a painter, and two young daughters named Tessa and Romola.

The name of Andrea Orcagna was long connected with another celebrated sanctuary decorated by Giottesque artists—the Campo Santo of Pisa; but Vasari's assertion that he painted the Triumph of Death is absolutely without foundation, and these famous frescoes are now generally recognised to be the work of an unknown Sienese master. Florentine influences, however, are mingled with these traditions. Both Dante and Boccaccio's thought, it is plain, inspired the author of this great Vision of Life and Death, while the Angels of Judgment and Mercy recall Orcagna's forms. In spite of their separate origin and distinctive features, the art of Florence and Siena acted mutually on each other in many respects during the fourteenth century, and Sienese influences became increasingly apparent in the works of the later Giotteschi. Among these were several painters who assisted in the decoration of the Campo Santo. Native art in Pisa never rose above mediocrity, and after the death of the Lorenzetti brothers in the plague of 1348, and the consequent decline of Sienese art, the Directors of the Cathedral works sought the help of Florentine artists to adorn the stately cloisters erected by Giovanni Pisano. In 1371, they engaged Francesco da Volterra, a Giottesque master who had