Novella at the chapel of St Lorenzo de' Giuochi,
at the entry of the church by the right hand door, on the front wall.
In Ognissanti he did a St Christopher and a St George, which were
ruined by bad weather and were restored by some ignorant painters. An
uninjured work of Tommaso in the same church is in the tympanum over
the sacristy door, which contains a Madonna in fresco, with the child
in her arms; it is a good thing as he took pains with it.

By means of these works Giottino acquired so much renown, imitating
his master, as I have said, both in design and in inventions, that
the spirit of Giotto himself was said to be in him, owing to the
freshness of his colouring and to his skill in design. Now, on 2nd
July 1343, when the Duke of Athens was hunted from Florence, and had
by oath renounced the government and rendered the Florentines their
liberty, Giottino was constrained by the Twelve Reformers of the
State, and especially by the prayers of M. Agnolo Acciaiuoli, then a
very distinguished citizen, who had great influence over him, to
paint on the tower of the Podesta Palace the duke and his followers,
M. Ceritieri Visdomini, M. Maladiasse, his Conservator and M. Ranieri
da S. Gimignano, all with mitres of Justice on their heads,
represented thus shamefully as a sign of contempt. About the duke's
head he painted many beasts of prey and other sorts, indicative of
his nature and quality; and one of these counsellors had in his hand
the palace of the priors of the city, which he was offering to the
duke, like a false traitor. Beneath everyone of them were the arms
and insignia of their families, with inscriptions which can now only
be read with difficulty owing to the ravages of time. This work,
because it was well designed and very carefully executed, gave
universal satisfaction, and the method of the artist pleased
everyone. He next made a St Cosmo and a St Damian at the Campora, a
place of the black monks outside the gate of S. Piero Gattolini.
These were afterwards destroyed in whitewashing the church. On the
bridge at Romiti in Valdarno he did the tabernacle which is built in
the middle, painting it in fresco in a very fine style. It is
recorded by many writers that Tommaso practised sculpture, and did a
marble figure four braccia high for the campanile of S. Maria del
Fiore at Florence, towards the place where the orphan asylum now
stands. At Rome again he successfully completed a scene in S. John
Lateran in wh