In that tomb there is seen the portrait of Messer Cino himself in marble, by the hand of Andrea; he is teaching a number of his scholars, who are round him, with an attitude and manner so beautiful that, although to-day it might not be prized, in those days it must have been a marvellous thing.
Alinari
Andrea was also made use of in matters of architecture by Gualtieri, Duke of Athens and Tyrant of the Florentines, who made him enlarge the square, and caused him, in order to safeguard himself in his palace, to secure all the lower windows on the first floor (where to-day is the Sala de' Dugento) with iron bars, square and very strong. The said Duke also added, opposite S. Pietro Scheraggio, the walls of rustic work that are beside the palace, in order to enlarge it; and in the thickness of the wall he made a secret staircase, in order to ascend and descend unseen. And at the foot of the said wall of rustic work he made a great door, which serves to-day for the Customs-house, and above that his arms, and all with the design and counsel of Andrea; and although these arms were chiselled out by the Council of Twelve, which took pains to efface every memorial of that Duke, there remained none the less in the square shield the form of the lion rampant with two tails, as anyone can see who examines it with diligence. For the same Duke Andrea built many towers round the walls of the city, and he not only made a magnificent beginning for the Porta a S. Friano and brought it to the completion that is seen, but also made the walls for the vestibules of all the gates of the city, and the lesser gates for the convenience of the people. And because the Duke had it in his mind to make a fortress on the Costa di S. Giorgio, Andrea made the model for it, which afterwards was not used, for the reason that the work was never given a beginning, the Duke having been driven out in the year 1343. Nevertheless, there was effected in great part the desire of that Duke to bring the palace to the form of a strong castle, because, to that which had been made originally, he added the great mass which is seen to-day, enclosing within its circuit the houses of the Filipetri, the tower and the houses of the Amidei and Mancini, and those of the Bellalberti. And because, having made a beginning with so great a fabric and with the thick walls and barbicans, he had not all the material that was essential equally in readiness, he held back the construction of the Ponte Vecchio, which was being worked on with all haste as a work of necessity, and availed himself of the stone hewn and the wood prepared for it, without the least scruple. And although Taddeo Gaddi was not perhaps inferior in the matters of architecture to Andrea Pisano, the Duke would not avail himself of him in these buildings, by reason of his being a Florentine, but only of Andrea. The same Duke Gualtieri wished to pull down S. Cecilia, in order to see from his palace the Strada Romana and the Mercato Nuovo, and likewise to destroy S. Pietro Scheraggio for his own convenience, but he had not leave to do this from the Pope; and meanwhile, as it has been said above, he was driven out by the fury of the people.
Deservedly then did Andrea gain, by the honourable labours of so many years, not only very great rewards but also the citizenship; for he was made a citizen of Florence by the Signoria, and was given offices and magistracies in the city, and his works were esteemed both while he lived and after his death, there being found no one who could surpass him in working, until there came Niccolò Aretino, Jacopo della Quercia of Siena, Donatello, Filippo di Ser Brunellesco, and Lorenzo Ghiberti, who executed the sculptures and other works that they made in such a manner that people recognized in how great error they had lived up to that time; for these men recovered with their works that excellence which had been hidden and little known by men for many and many a year. The works of Andrea date about the year of our salvation 1340.
Andrea left many disciples; among others, Tommaso Pisano, architect and sculptor, who finished the Chapel of the Campo Santo and added the finishing touch to the Campanile of the Duomo—namely, that final part wherein are the bells. Tommaso is believed to have been the son of Andrea, this being found written in the panel of the high-altar of S. Francesco in Pisa, wherein there is, carved in half-relief, a Madonna, with other Saints made by him, and below these his name and that of his father.
Alinari