atsoever when works are brought to the height of perfection, for the
reason that if a beginning were never given to anything, there would be
no advance and improvement in the middle stages, and the end would not
become excellent and of a marvellous beauty. Duccio, then, painter of
Siena and much esteemed, deserved to carry off the palm from those who
came many years after him, since in the pavement of the Duomo of Siena
he made a beginning in marble for the inlaid work of the figures in
chiaroscuro, wherein to-day modern craftsmen have made the marvels that
are seen in them. He applied himself to the imitation of the old manner,
and with very sane judgment gave dignified forms to his figures, which
he fashioned very excellently in spite of the difficulties of such an
art. With his own hand, imitating the pictures in chiaroscuro, he
arranged and designed the beginnings of the said pavement, and he made
in the Duomo a panel that was then placed on the high-altar, and
afterwards removed thence in order to place there the Tabernacle of the
Body of Christ, which is seen there at the present day. In this panel,
according to the description of Lorenzo di Bartolo Ghiberti, there was a
Coronation of Our Lady, wrought, as it were, in the Greek manner, but
blended considerably with the modern. And as it was painted both on the
back part and on the front, the said high-altar being isolated right
round, on the said back part there had been made by Duccio with much
diligence all the principal stories of the New Testament, with very
beautiful little figures. I have sought to learn where this panel is to
be found to-day, but, for all the diligence that I have thereunto used,
I have never been able to discover it, or to learn what Francesco di
Giorgio, the sculptor, did with it when he remade the said tabernacle in
bronze, as well as the marble ornaments that are therein.

He made, likewise, many panels on grounds of gold throughout Siena, and
one in Florence, in S. Trinita, wherein there is an Annunciation. He
painted, next, very many works for diverse churches in Pisa, in Lucca,
and in Pistoia, which were all consummately praised and acquired for him
very great fame and profit. Finally, it is not known where this Duccio
died, nor what relatives, disciples, or wealth he left; it is enough
that, for having left art the heir to his invention of making pictures
of marble in chiaroscuro, he deserves infinite commendation and praise
for such