his master, and also the high altar picture of Ognissanti, where the
Umiliati friars are stationed, a much admired work; and in Assisi he
made for the tribune of the high altar a crucifix, Our Lady, and St
Clare, and on the side wall stories of Our Lady. He subsequently went
to Milan, where he did many works in tempera and in fresco, and at
length died there.

Now Taddeo always adopted Giotto's style, but did not greatly improve
it, except in the colouring, which he made fresher and more vivid.
Giotto had made such efforts to overcome other difficulties of this
art, that although he considered colouring also, yet it was not
granted to him to master this completely. Taddeo, on the other hand,
profiting by his master's labours, had an easier task, and was able
to add something of his own in improving the colouring.

Taddeo was buried by Agnolo and Giovanni his sons in S. Croce, in the
first cloister, and in the tomb which he had made for Gaddo his
father. He was much honoured in the verses of the learned of the time
as a man who had deserved much for his character, and because he had,
besides his pictures, successfully completed many structures very
useful to his city. In addition to the works already mentioned, he
had with care and diligence completed the campanile of S. Maria del
Fiore from the design of his master Giotto. This campanile was so
constructed that it would be impossible to join stones with more
care, or to make a tower which should be finer in the matter of
ornament, expense, and design. The epitaph made for Taddeo was as
follows:

Hoc uno dici poterat Florentia felix
Vivente: at certa est non potuisse mori.

Taddeo's method of designing was very broad and bold, as may be seen
in our book, which contains a drawing by his hand of the scene which
he did in the chapel of St Andrew in S. Croce, at Florence.

Andrea di Cione Orcagna, Painter, Sculptor, and Architect of
Florence.

It frequently happens that when a man of genius excels in one thing,
he is easily able to learn another, especially such as are similar to
his first profession, and which proceed, as it were, from the same
source. An example of this is Orcagna of Florence, who was painter,
sculptor, architect, and poet, as will be said below. He was born in
Florence, and while quite a child began to practise sculpture under
Andrea Pisano, and so continued for many years. When he afterwards
became desirous of enrichin