executed. It is said that he executed in fresco for the chapel
of St Anthony at Assisi, some scenes from the life of that saint for
a duke of Spoleto, who is buried there with a son. These two princes
had been killed while fighting in the suburbs of Assisi, as may be
seen by a long inscription on the sarcophagus of their tomb. The old
book of the company of painters records that one Francesco, called
"of Master Giotto," was another pupil of the master, but I know
nothing more about him.

Yet another pupil of Giotto was Guglielmo da Forli, who, besides many
other works, painted the chapel of the high altar for S. Domenico at
Forli, his native place. Other pupils were Pietro Laureati, Simone
Memmi of Siena, Stefano of Florence, and Pietro Cavallini of Rome.
But as I intend to deal fully with these in their lives, I shall
content myself here with simply saying that they were pupils of
Giotto. That the master drew extremely well for his day may be seen
on a number of parchments containing some water colours, pen and ink
drawings, chiaroscuros with the lights in white, by his hand, in our
book of designs, which are truly marvellous when compared with those
of the masters who preceded him, and afford a good example of his
style.

As has been said, Giotto was a very witty and pleasant person, very
ready in speech, many of his sayings being still fresh in the memory
of his fellow-citizens. Besides the one related by M. Giovanni
Boccaccio, several very good stories are told by Franco Sacchetti in
his "Three Hundred Tales." I give one in the author's own words,
because it contains many expressions and phrases characteristic of
the time. The rubric of this one runs: "Giotto, the great painter, is
requested by a person of low birth to paint his buckler. Making a
jest of the matter, he paints it so as to cover the applicant with
confusion."

TALE LXIII.

Every one must have heard of Giotto, and how as a painter he
surpassed all others. His fame came to the ears of a rude artizan,
who, having to do service in some castle, wanted his buckler painted.
Accordingly he presented himself abruptly at Giotto's workshop, with
a man to carry the buckler behind him. He found Giotto in, and began:
"God save thee, Master, I want to have my arms painted on this
buckler." Giotto took stock of the man and his manners, but he said
nothing except "When do you want it," and the man told him. "Leave it
to me," said Giotto, and the man departed. W