Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 1.djvu/155

Rh painted an oratory in Florence, opposite to the north door of Santo Spirito, and in the angle where now stands the abode of a butcher. This work amply merits the highest praise from every intelligent artist, for the delicacy of its execution, and in particular for the softness and sweetness visible in the heads. From Florence, Pietro went to Pisa, where, on the facade of the Campo Santo, and beside the principal door, he painted stories from the lives of the Holy Fathers, with so much vivacity of expression and grace of attitude, that he fully equalled Giotto, and obtained high reputation. Some of these heads, whether as regards design or colouring, exhibit a life-like character, which could not be surpassed by anything of which the manner of those times was capable. From Pisa, Laurati departed to Pistoja, where he painted a picture in distemper for the church of San Francesco; this was a figure of the Virgin with angels around her, a very good composition. On the predella beneath this painting are historical representations, wherein the master executed numerous small figures, so full of life and movement, that in those days they must have been considered miraculous; and, as they satisfied himself no less than others, he placed his name on the work as follows:—“Petrus Laurati de Senis.” In the year 1355, Laurati was invited to Arezzo by Messer Guglielmo, the dean, and by the wardens of the deanery of Arezzo, who were then Margarito Boschi, and others. The capitular church of that city had been erected with superior designs, and in a better manner than any that had been constructed in Tuscany up to that time; it had further been enriched by Margaritone with ornaments of hewn stone and carvings, as we have before said. Laurati now adorned the tribune and the great recess of the chapel wherein is the high altar, with fresco paintings, representing passages from the life of our Lady, with figures of the natural size. In these stories, which begin with the expulsion of Joachim from the Temple, and close with the Birth of Christ, may be perceived