aps of a peculiar shape, such as those worn by
Taddeo Gaddi and others in the portraits placed by Vasari at the
beginning of each Life; and possibly, also, the wooden hoops placed
inside these caps to keep them in shape.]
The first pictures of Paolo were in fresco, in an oblong niche painted
in perspective, at the Hospital of Lelmo--namely, a figure of S. Anthony
the Abbot, with S. Cosimo on one side and S. Damiano on the other. In
the Annalena, a convent of nuns, he made two figures; and within the
Church of S. Trinita, over the left-hand door, he painted stories of S.
Francis in fresco--namely, the receiving of the Stigmata; the supporting
of the Church, which he is upholding with his shoulders; and his
conference with S. Dominic. In S. Maria Maggiore, also, in a chapel near
the side-door which leads to S. Giovanni, where there are the panel and
predella of Masaccio, he wrought an Annunciation in fresco, wherein he
made a building worthy of consideration, which was something new and
difficult in those times, seeing that it was the first possessing any
beauty of manner which was seen by craftsmen, showing them with grace
and proportion how to manage the receding of lines, and how to give so
great an extent to a level space which is small and confined, that it
appears far distant and large; and when to this, with judgment and
grace, men can add shadows and lights by means of colours in their
proper places, there is no doubt that they cause an illusion to the eye,
so that it appears that the painting is real and in relief. And not
being satisfied with this, he wished to demonstrate even greater
difficulties in some columns, which, foreshortened in perspective, curve
round and break the salient angle of the vaulting wherein are the four
Evangelists; which was held something beautiful and difficult, and, in
truth, in that branch of his profession Paolo was ingenious and able.
In a cloister of S. Miniato without Florence, also, he wrought the lives
of the Holy Fathers, chiefly in terra-verde, and partly in colour;
wherein he paid little regard to effecting harmony by painting with one
colour, as should be done in painting stories, for he made the fields
blue, the cities red, and the buildings varied according to his
pleasure; and in this he was at fault, for something which is meant to
represent stone cannot and should not be tinted with another colour. It
is said that while Paolo was labouring at this work, the Abbot who
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