ng his hands on the money, thus revealing his love of it, his
avarice, and his distrust. In like manner, the three figures that are
upholding the garments of S. Francis in the sky, representing Obedience,
Patience, and Poverty, are worthy of infinite praise, above all because
there is in the manner of the draperies a natural flow of folds that
gives us to know that Giotto was born in order to give light to
painting. Besides this, he portrayed Signor Malatesta on a ship in this
work, so naturally that he appears absolutely alive; and some mariners
and other people, in their promptness, their expressions, and their
attitudes--and particularly a figure that is speaking with some others
and spits into the sea, putting one hand up to his face--give us to know
the excellence of Giotto. And certainly, among all the works of painting
made by this master, this may be said to be one of the best, for the
reason that there is not one figure in so great a number that does not
show very great craftsmanship, and that is not placed in some
characteristic attitude. And therefore it is no marvel that Signor
Malatesta did not fail to reward him magnificently and to praise him.

Having finished his labours for that lord, he complied with the request
of a Prior of Florence who was then at S. Cataldo d'Arimini, and made a
S. Thomas Aquinas, reading to his friars, without the door of the
church. Departing thence, he returned to Ravenna and painted a chapel in
fresco in S. Giovanni Evangelista, which is much extolled. Having next
returned to Florence with very great honour and ample means, he painted
a Crucifix on wood and in distemper for S. Marco, larger than life and
on a ground of gold, which was placed on the right hand in the church.
And he made another like it in S. Maria Novella, whereon Puccio Capanna,
his pupil, worked in company with him; and this is still to-day over the
principal door, on the right as you enter the church, over the tomb of
the Gaddi. And in the same church, over the tramezzo,[11] he made a S.
Louis for Paolo di Lotto Ardinghelli, and at the foot thereof the
portrait of him and of his wife, from the life.

Afterwards, in the year 1327, Guido Tarlati da Pietramala, Bishop and
Lord of Arezzo, died at Massa di Maremma in returning from Lucca, where
he had been to visit the Emperor, and after his body had been brought to
Arezzo and the most magnificent funeral honours had been paid to it,
Piero Saccone and Dolfo da Pie