. A new history of painting in Italy, from the II to the XVI century; . 1376, an instrument was draA\Ti up before a public notaryat Florence in favour of Cristofano Ristori as tutor to Tessa andRomola, daughters of Orcagna, by Francesca his widow.^ Vasari,who makes Orcagna live till 1389, is thus proved to have com- 1 MiLANESi, %ihi sup. 2 See the original contract in Milanesi, uhi sup. ^ Della VALiiE, Star., p. 284. At all events, the payments to Orcagnacease to be recorded. Tlie name of Matteo Cioni appears as late as 1380in a record of works executed at Orsanmichele. See (L. ), S
. A new history of painting in Italy, from the II to the XVI century; . 1376, an instrument was draA\Ti up before a public notaryat Florence in favour of Cristofano Ristori as tutor to Tessa andRomola, daughters of Orcagna, by Francesca his widow.^ Vasari,who makes Orcagna live till 1389, is thus proved to have com- 1 MiLANESi, %ihi sup. 2 See the original contract in Milanesi, uhi sup. ^ Della VALiiE, Star., p. 284. At all events, the payments to Orcagnacease to be recorded. Tlie name of Matteo Cioni appears as late as 1380in a record of works executed at Orsanmichele. See (L. ), Stdbili-menti di Beneficenza (8vo, Florence), p. 53. * MiLANESi, iibi sup. ^ The statement may be seen in G. , uhi sup. * Ibid. Gaye, Carteggio, vol. ii., p. 36, as follows : Andrea Cioni Pop. Bisdominis Orgagnia Baldinucci copies the register andgives the date as 1369, but see Guat^andi, ubi sup., Ser. vi., p. 176. * See the original record in Bonaint, Mem. Ined., ubi sup., p. 106. MARRIAGE OF THE VIRGINOrcagna. Orsanmichele, FRESCOES AT PISA 371 mitted an error of some years in his computation. It will havebeen observed that no mention has been made of Andrea Orcagnasbirth. Before the discovery of the record which proves his death,it was customary to trust to Vasaris statement that he died in1389, at the age of sixty, his birth being thus placed in the year1329-30 ; but the date of death being false, who shall vouch forthe truth of the assertion that Orcagna lived to the age of sixty ?This, however, is not the only error into which Vasari has him we owe the assertion that Orcagna painted, in the CampoSanto of Pisa, the great frescoes of the Triumph of Death, the LastJudgment, and the Inferno.^ It may be necessary to devote alittle space to the consideration of this assertion. At the eastern extremity of the southern wall in the CampoSanto of Pisa, a painter of considerable talent depicted withsurprising power the advantages
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