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Acciaiuoli, then a very great citizen, who had great influence with him, to paint in contempt, on the tower of the Palace of the Podestà, the said Duke and his followers, who were Messer Ceritieri Visdomini, Messer Maladiasse, his Conservator, and Messer Ranieri da San Gimignano, all with the cap of Justice ignominiously on their heads. Round the head of the Duke were many beasts of prey and other sorts, signifying his nature and his character; and one of those his counsellors had in his hand the Palace of the Priors of the city, and was handing it to him, like a disloyal traitor to his country. And all had below them the arms and emblems of their families, and some writings which can hardly be read to-day because they have been eaten away by time. In this work, both by reason of the draughtsmanship and of the great diligence wherewith it was executed, the manner of the craftsman gave universal pleasure to all. Afterwards, at the Campora, a seat of the Black Friars without the Porta a S. Piero Gattolini, he made a S. Cosimo and a S. Damiano, which were spoilt in the whitewashing of the church; and on the bridge of Romiti in Valdarno he painted in fresco the shrine that is built over the middle, with his own hand and in a beautiful manner.

      It is found recorded by many who wrote thereon that Tommaso applied himself to sculpture and wrought a figure in marble on the Campanile of S. Maria del Fiore in Florence, four braccia high and facing the place where the Orphans now dwell. In S. Giovanni Laterano in Rome, likewise, he brought to fine completion a scene wherein he represented the Pope in several capacities, which is now seen to have been eaten away and corroded by time; and in the house of the Orsini he painted a hall full of famous men; with a very beautiful S. Louis on a pillar in the Araceli, on the right hand beside the altar.

      In the lower church of S. Francesco at Assisi, in an arch over the pulpit (there being no other space that was not painted) he wrought the Coronation of Our Lady, with many angels round her, so gracious, so beautiful in the expressions of the faces, and so sweet and delicate in manner, that they show, with the usual harmony of colour which was something peculiar to this painter, that he had proved himself the peer of all who had lived up to that time; and round this arch he made some stories of S. Nicholas. In like manner, in the Monastery of S. Chiara in the same city, in the middle of the church, he painted a scene in fresco, wherein is S. Chiara supported in the air by two angels who appear real; she is restoring to life a child that was dead, while round her are standing many women all full of wonder, with great beauty in the faces and in the very gracious head-dresses and costumes of those times that they are wearing. In the same city of Assisi, over the gate of the city that leads to the Duomo—namely, in an arch on the inner side—he made a Madonna with the Child in her arms, with so great diligence that she appears alive, and a S. Francis and another Saint, both very beautiful; both of which works, although the story of S. Chiara remained unfinished by reason of Tommaso having fallen sick and returned to Florence, are perfect and most worthy of all praise.

       GIOTTINO: THE DESCENT FROM THE CROSS (Florence: Uffizi 27. Panel) View larger image

It is said that Tommaso was melancholic in temperament and very solitary, but with respect to art devoted and very studious, as it is clearly seen from a panel in the Church of S. Romeo in Florence, wrought by him in distemper with so great diligence and love that there has never been seen a better work on wood by his hand. In this panel, which is placed in the tramezzo[21] of the church, on the right hand, is a Dead Christ with the Maries and Nicodemus, accompanied by other figures, who are bewailing His death with bitterness and with very sweet and affectionate movements, wringing their hands with diverse gestures, and beating themselves in a manner that in the air of the faces there is shown very clearly their sharp sorrow at the so great cost of our sins. And it is something marvellous to consider, not that he penetrated with his genius to such a height of imagination, but that he could express it so well with the brush. Wherefore this work is consummately worthy of praise, not so much by reason of the subject and of the invention, as because in it the craftsman has shown, in some heads that are weeping, that although the lineaments of those that are weeping are distorted in the brows, in the eyes, in the nose, and in the mouth, this, however, neither spoils nor alters a certain beauty which is wont to suffer much in weeping when the painters do not know well how to avail themselves of the good methods of art. But it is no great thing that Giottino should have executed this panel with so much consideration, since in his labours he ever aimed rather at fame and glory than at any other reward, being free from the greed of gain, that makes our present masters less diligent and good. And even as he did not seek to have great riches, so he did not trouble himself much about the comforts of life—nay, living poorly, he sought to satisfy others rather than himself; wherefore, taking little care of himself and enduring fatigue, he died of consumption at the age of thirty-two, and was given burial by his relatives at the Martello Gate without S. Maria Novella, beside the tomb of Bontura.

      Disciples of Giottino, who left more fame than wealth, were Giovanni Tossicani of Arezzo, Michelino, Giovanni dal Ponte, and Lippo, who were passing good masters of this art, but above all Giovanni Tossicani, who made many works throughout all Tuscany after Tommaso and in the same manner as his, and in particular the Chapel of S. Maria Maddalena, belonging to the Tuccerelli, in the Pieve of Arezzo, and a S. James on a pillar in the Pieve of the township of Empoli. In the Duomo of Pisa, also, he wrought some panels which have since been removed in order to make room for the modern. The last work that he made was in a chapel of the Vescovado of Arezzo, for the Countess Giovanna, wife of Tarlato da Pietramala—namely, a very beautiful Annunciation, with S. James and S. Philip; which work, by reason of the back of the wall being turned to the north, was little less than completely spoilt by damp, when Maestro Agnolo di Lorenzo of Arezzo restored the Annunciation, and shortly afterwards Giorgio Vasari, still a youth, restored the S. James and S. Philip, to his own great profit, having learnt much, at that time when he had not the advantage of other masters, by studying Giovanni's method of painting and the shadows and colours of that work, spoilt as it was. In this chapel there are still read these words in an epitaph of marble, in memory of the Countess who had it built and painted:

      ANNO DOMINI 1335, DE MENSE AUGUSTI, HANC CAPELLAM CONSTITUI

       FECIT NOBILIS DOMINA COMITISSA JOANNA DE SANCTA FLORA, UXOR

       NOBILIS MILITIS DOMINI TARLATI DE PETRAMALA, AD HONOREM BEATÆ

       MARIÆ VIRGINIS.

      Of the works of the other disciples of Giottino there is no mention made, seeing that they were but ordinary and little like those of the master and of Giovanni Tossicani, their fellow-disciple. Tommaso drew very well, as it may be seen in our book, in certain drawings wrought by his hand with much diligence.

      GIOVANNI DAL PONTE

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      LIFE OF GIOVANNI DAL PONTE,

      PAINTER OF FLORENCE

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      Although there is no truth and not much confidence to be placed in the ancient proverb that the prodigal's purse is never empty, and although, on the contrary, it is very true that he who does not live a well-ordered life in his own degree lives at the last in want and dies miserably, it is seen, nevertheless, that fortune sometimes aids rather those who squander without restraint than those who are in all things careful and self-restrained; and when the favour of fortune ceases, there often comes death, to make up for her defection and for the bad management of men, supervening at the very moment when such men would begin with infinite dismay to recognize how miserable a thing it is to have squandered in youth and to want in old age, living and labouring in poverty, as would have happened to Giovanni da Santo Stefano a Ponte of Florence, if, after having consumed his patrimony and much gain which had been brought to his hands rather by fortune than by his merits, with some inheritances that came to him from an unexpected source, he had not finished at one and the same time the course of his

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