ulgar tongues, for the people of those parts take a
natural pleasure in _belles lettres_. This then was the fitting
reward of the honourable labours of Berna, that those whom he had
honoured with his paintings should celebrate him with their pens.
Giovanni da Asciano, who was a pupil of Berna, completed his work and
did some pictures for the hospital of the Scala at Siena. In Florence
also he did some things in the old houses of the Medici, by which he
acquired a considerable reputation. The works of Berna of Siena were
produced about 1381. Besides what we have already said, he was a
fairly facile draughtsman and the first who began to draw animals
well, as we see by some sheets by his hand in our book, covered with
wild beasts of various parts, so that he merits the highest praise
and that his name should be honoured among artists. Another pupil of
his was Luca di Tome of Siena who painted many works in Siena and in
all Tuscany, but especially the picture and chapel of the Dragomanni
in S. Domenico at Arezzo. The chapel is in the German style and was
very handsomely decorated by that picture and by the frescoes
executed there by the skill and talent of Luda of Siena.

Duccio, Painter of Siena.

There is do doubt that those who invent anything noteworthy occupy
the greatest share of the attention of historians, The reason for
this is that original inventors are more noticed and excite more
wonder, because new things always possess a greater charm than
improvements subsequently introduced to perfect them. For if no one
ever made a beginning, there would never be any advance or
improvement, and the full achievement of marvellous beauty would
never be attained. Accordingly Duccio, a much esteemed painter of
Siena, is worthy to receive the praise of those who have followed him
many years after, since in the pavement of the Duomo of Siena he
initiated the treatment in marble of figures in chiaroscuro, in which
modern artists have performed such wonders in these days. Duccio
devoted himself to the imitation of the old style and very
judiciously gave the correct forms to his figures, overcoming the
difficulty presented by such an art. Imitating the paintings in
chiaroscuro, he designed the first part of the pavement with his own
hand; and painted a picture in the Duomo which was then put at the
high altar and afterwards removed to make room for the tabernacle of
the body of Christ which is now seen there. According t