stories of Our Lady, and another figure of Our Lady
on a panel in distemper, with many Saints wrought in lively fashion. In
like manner, in the predella of the said panel, he made some other
stories of Our Lady with little figures, whereof there is no need to
make particular mention, seeing that in the year 1467 everything was
destroyed when Lodovico, Marquis of Mantua, made in that place the
tribune that is there to-day and the choir of the friars, with the
design of Leon Battista Alberti, causing the panel to be carried into
the Chapter-house of that convent; in the refectory of which Taddeo
made, just above the wooden seats, the Last Supper of Jesus Christ with
the Apostles, and above that a Crucifix with many saints.

Having given the last touch to these works, Taddeo Gaddi was summoned to
Pisa, where, for Gherardo and Bonaccorso Gambacorti, he wrought in
fresco the principal chapel of S. Francesco, painting with beautiful
colours many figures and stories of that Saint and of S. Andrew and S.
Nicholas. Next, on the vaulting and on the front wall is Pope Honorius,
who is confirming the Order; here Taddeo is portrayed from the life, in
profile, with a cap wrapped round his head, and at the foot of this
scene are written these words:

MAGISTER TADDEUS GADDUS DE FLORENTIA PINXIT HANC HISTORIAM SANCTI
FRANCISCI ET SANCTI ANDREAE ET SANCTI NICOLAI, ANNO DOMINI MCCCXLII,
DE MENSE AUGUSTI.

Besides this, in the cloister also of the same convent he made in fresco
a Madonna with her Child in her arms, very well coloured, and in the
middle of the church, on the left hand as one enters, a S. Louis the
Bishop, seated, to whom S. Gherardo da Villamagna, who had been a friar
of this Order, is recommending a Fra Bartolommeo, then Prior of the
said convent. In the figures of this work, seeing that they were taken
from nature, there are seen liveliness and infinite grace, in that
simple manner which was in some respects better than that of Giotto,
above all in expressing supplication, joy, sorrow, and other similar
emotions, which, when well expressed, ever bring very great honour to
the painter.

Next, having returned to Florence, Taddeo continued for the Commune the
work of Orsanmichele and refounded the piers of the Loggia, building
them with stone dressed and well shaped, whereas before they had been
made of bricks, without, however, altering the design that Arnolfo left,
with directions that there should be ma