Summary

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

Between the arches of the front, and among other ornaments, by his own hand, Orgagna sculptured seven marble figures in mezzo-relievo, representing the seven theological and cardinal Virtues, [19] which are so admirably done, that, taken in conjunction with the rest of the work, they prove this master to have been no less excellent as a sculptor, than he was as a painter and architect. In addition to his talents, Andrea was, besides, endowed with a most cheerful disposition and kind heart; no man, of his condition, was ever more amiable, or of pleasanter manners.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

In one of these sovereigns, represented on horseback, Andrea has painted the likeness of Uguccione della Faggiuola of Arezzo; it is the figure who is holding his nose with one hand, to avoid the odour of the dead and putrid bodies. In the centre of the picture is Death, robed in black, and flying through the air; the form is that of a woman, and she clearly intimates that by her scythe, the crowds lying dead on the earth beneath her have been deprived of life.
Source: Wikisource

Giorgio Vasari Lives of the Most Excellent Painters… (1850)

All states and conditions are there: rich and poor, young and old, men and women; the strong and blooming, together with the sick and faded, some of every age in short, and all in large numbers. And as Andrea knew that the Pisans were pleased with the invention of Buffalmacco, who caused the figures of Bruno, in San Paolo a Bipa d'Arno, to speak, by making the words issue from their mouths, so he filled his whole work with such inscriptions, the greater part of which have been destroyed by time, and are no longer intelligible
Source: Wikisource

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