rs
after he had been left without his master, and likewise the panel of the
high-altar of Ognissanti, where the Frati Umiliati had their seat, which
was held very beautiful, and the tribune of the high-altar at Assisi,
wherein he made a Crucifix, with Our Lady and S. Chiara, and stories of
Our Lady on the walls and sides. Afterwards he betook himself to Milan,
where he wrought many works in distemper and in fresco, and there
finally he died.

Taddeo, then, adhered constantly to the manner of Giotto, but did not
better it much save in the colouring, which he made fresher and more
vivacious than that of Giotto, the latter having applied himself so
ardently to improving the other departments and difficulties of this
art, that although he gave attention to this, he could not, however,
attain to the privilege of doing it, whereas Taddeo, having seen that
which Giotto had made easy and having learnt it, had time to add
something and to improve the colouring.

Taddeo was buried by Agnolo and Giovanni, his sons, in the first
cloister of S. Croce, in that tomb which he had made for Gaddo his
father, and he was much honoured with verses by the men of culture of
that time, as a man who had been greatly deserving for his ways of life
and for having brought to completion with beautiful design, besides his
pictures, many buildings of great convenience to his city, and besides
what has been mentioned, for having carried out with solicitude and
diligence the construction of the Campanile of S. Maria del Fiore, from
the design left by Giotto his master; which campanile was built in such
a manner that stones could not be put together with more diligence, nor
could a more beautiful tower be made, with regard either to ornament, or
cost, or design. The epitaph that was made for Taddeo was this that is
to be read here:

HOC UNO DICI POTERAT FLORENTIA FELIX
VIVENTE; AT CERTA EST NON POTUISSE MORI.

Taddeo was very resolute in draughtsmanship, as it may be seen in our
book, wherein is drawn by his hand the scene that he wrought in the
Chapel of S. Andrea, in S. Croce at Florence.

FOOTNOTES:

[Footnote 16: See note on p. 57.]

[Footnote 17: See note on p. 57.]

ANDREA DI CIONE ORCAGNA

LIFE OF ANDREA DI CIONE ORCAGNA,

PAINTER, SCULPTOR, AND ARCHITECT, OF FLORENCE

Rarely is a man of parts excellent in one pursuit without being able
easily to learn any other, and above all any one of those that are akin