Fossanuova, where he had died in 1323. St
Thomas is seated in the air with some books in his hand, illuminating
with their rays and splendour the Christian people; kneeling below
him are a large number of doctors and clerks of every condition,
bishops, cardinals and popes, including the portrait of Pope Urban
VI. Under the saint's feet are Sabellius, Arius, Averroes, and other
heretics and philosophers with their books all torn. On either side
of St Thomas are Plato, showing the Timaeus, and Aristotle pointing to
his Ethics. Above is Jesus Christ, also in the air, with the four
Evangelists about him. He is blessing St Thomas, and apparently
sending the Holy Spirit upon him, filling him therewith and with His
grace. On the completion of this work Francesco Traini acquired great
name and fame, for he had far surpassed his master Andrea in
colouring, in unity, and in invention. Andrea was very careful in his
designs, as may be seen in our book.

Tommaso called Giottino, painter of Florence.

When there is emulation among the arts which are based on design and
when artists work in competition with each other there is no doubt
that men's abilities, being stimulated by constant study, discover
new things every day to satisfy the varied tastes of man. Thus in
painting, some introduce obscure and eccentric things into their work
and by a mastery of the difficulties display the brightness of their
talent in the midst of darkness. Others employ themselves on soft and
delicate things conceiving that these should be more pleasing to the
eye of the beholder; so that they pleasantly attract the greater
number of men. Others again paint smoothly, softening the colours and
confining the lights and shades of the figures to their places, for
which they merit the highest praise, displaying their intention with
wonderful skill. This smooth style is always apparent in the works of
Tommaso di Stefano, called Giottino, who was born in the year 1324,
and after he had learned the elements of painting from his father, he
resolved while still a youth, that he would most carefully imitate
Giotto's style rather than that of Stefano. He succeeded so well in
this that he won thereby in addition to the style, which was much
finer than his master's, the nickname of Giottino, which he always
retained. Hence many, misled by his manner and name, believed him to
be Giotto's son, but they fell into a very great error, for it is
certain, or rathe