[56] Where wool is carded, spun and woven.
[57] Mann and Manners, Vol. II, p. 102.
[58] See Cronachette Storiche Florentine. Pierfilippo Covoni. Firenze, 1894.
[59] See Il Palazzo Pitti. Lettura fatta alla Società Colombaria nell’adunanza del dì 6. Marzo, 1887. Prof. Cosimo Conti. Succ. Le Monnier Firenze, 1887.
[60] Cronaca di Giovanni Villani, lib. 8, cap. 8.
[61] See Del Pretorio di Firenze. Lezione Academico, etc., da Luigi Passerini, 2A edizione, Firenze, 1855. Ricordi e Jouhaud.
[62] Hoc opus factum fuit tempore potestarie magnifici et potentis militis domini Fidesmini de Varano civis Camerinensis honorabilis potestatis ... the remainder is wanting.
[63] In an article in the Quarterly Review for July, 1904, the following suggestion is made: “A theory of reconciliation is clearly required, and easily suggests itself. May not the chapel have been originally decorated by Giotto, and have sustained, in the fire of 1332, injuries which left nothing but the main lines of its compositions intact? May not the date 1337, inscribed on the left wall below the figure of St. Venanzius, refer to a restoration undertaken, according to the original design, by the nameless pupil who also painted the miracle of the fallen child? Such an explanation receives support from the fact that, on the south wall of the chapel, the framing is not adapted to the frescoes, and is therefore hardly likely to be of the same date.”
[64] Through the kindness of Sir Dominic Colnaghi I am informed that, “no painter of this name is known to have worked in Florence in the fourteenth century. Vasari evidently mixed up two painters in one notice, i. e. Giotto di Maestro Stefano, known as Giottino, and Maso di Banco. Antonio Billi (libro di Antonio Billi, ed. Frey. p. 14) states that among his other works Maso di Banco painted the Duke of Athens and his followers, on the façade of the Palazzo del Podestà.”
[65] By the effigy of the Duke was: