In like manner, for the Chapel of the Sacristy
of S. Francesco in Pisa Taddeo made a Madonna and some saints on a panel
painted in distemper, placing thereon his name and the year when it was
painted, which was the year 1394. And about this same time he wrought
certain panels in distemper at Volterra, and a panel at Monte Oliveto,
with a Hell in fresco on a wall, wherein he followed the invention of
Dante in so far as relates to the division of the sins and to the form
of the punishments, but in the place itself he either could not or would
not imitate him, or knew not how. He also sent to Arezzo a panel that
is in S. Agostino, wherein he portrayed Pope Gregory XI--namely, the
Pope who brought the Court back to Italy after it had been so many
decades of years in France.

[Illustration: POLYPTYCH

(_After the panel by_ Taddeo Bartoli. _Perugia: Gallery 9_)

_Anderson_]

Returning after these works to Siena, he made no very long stay there,
because he was called to work at Perugia in the Church of S. Domenico,
where, in the Chapel of S. Caterina, he painted in fresco all the life
of that Saint; and in S. Francesco, beside the door of the sacristy, he
made some figures which, although to-day little can be discerned of
them, are known to be by the hand of Taddeo, who held ever to one
unchanging manner. A little time afterwards there befell the death of
Biroldo, Lord of Perugia, who was murdered in the year 1398; whereupon
Taddeo returned to Siena, where, labouring continually, he applied
himself so zealously to the studies of his art, in order to become an
able painter, that it can be affirmed, if perchance he did not realize
his intention, that this was certainly not by reason of any defect or
negligence that he showed in his work, but rather through indisposition
caused by an internal obstruction, which afflicted him in a manner that
he could not attain to the fulness of his desire. Having taught the art
to one his nephew, called Domenico, Taddeo died at the age of
fifty-nine; and his pictures date about the year of our salvation 1410.

He left, then, as it has been said, Domenico Bartoli, his nephew and
disciple, who, following the art of painting, painted with greater and
better mastery, and in the scenes that he wrought he showed much more
fertility, varying them in diverse ways, than his uncle had done. In the
pilgrim's hall of the great hospital at Siena there are two large
scenes, wrought in fresco by Domenico,