of all who behold
them by reason of their having more relief, easily attract to themselves
the minds of the greater part of men. Others, again, painting with unity
and lowering the tones of the colours, reducing to their proper places
the lights and shades of their figures, deserve very great praise, and
reveal the thoughts of the intellect with beautiful dexterity of mind;
even as they were ever revealed with a sweet manner in the works of
Tommaso di Stefano, called Giottino, who, being born in the year 1324
and having learnt from his father the first principles of painting,
resolved while still very young to attempt, in so far as he might be
able with assiduous study, to be an imitator of the manner of Giotto
rather than of that of his father Stefano. In this attempt he succeeded
so well that he gained thereby, besides the manner, which was much more
beautiful than that of his master, the surname of Giottino, which never
left him; nay, by reason both of the manner and of the name it was the
opinion of many, who, however, were in very great error, that he was the
son of Giotto; but in truth it is not so, it being certain, or to speak
more exactly, believed (it being impossible for such things to be
affirmed by any man) that he was the son of Stefano, painter of
Florence.

He was, then, so diligent in painting and so greatly devoted to it,
that, although many of his works are not to be found, those nevertheless
that have been found are good and in a beautiful manner, for the reason
that the draperies, the hair, the beards, and all the rest of his work
were made and harmonized with so great softness and diligence, that it
is seen that without doubt he added harmony to this art and had it much
more perfect than his master Giotto and his father Stefano. In his youth
Giottino painted a chapel near the side-door of S. Stefano al Ponte
Vecchio in Florence, wherein, although it is to-day much spoilt by damp,
the little that has remained shows the dexterity and the genius of the
craftsman. Next, he made the two Saints, Cosimo and Damiano, for the
Frati Ermini in the Canto alla Macine, but little is seen of them
to-day, for they too have been ruined by time. And he wrought in fresco
a chapel in the old S. Spirito in that city, which was afterwards ruined
in the burning of that church; and in fresco, over the principal door of
the church, the story of the Sending of the Holy Spirit; and on the
square before the said church, on th