executed it with such
diligence, with consideration for so honoured a place, and he was so
richly rewarded by the Signoria, that he greatly increased his glory
and renown. Thus not only did he afterwards make many pictures for
his native land, to his great honour and benefit, but he was invited
and asked of the Signoria of Siena as a great favour by Francesco da
Carrara, lord of Padua, to go there, as he did, and do some things in
that most noble city. He did some pictures and other things there,
notably in the Arena and in the Santo with great care, to his own
great honour and to the infinite satisfaction of the said lord and of
the whole city. Returning subsequently to Tuscany he did a picture in
tempera in S. Gimignano, which is something in the style of Ugolino
of Siena and is now behind the high altar of the Pieve facing the
choir of the priests. He next went to Siena, but did not remain long
there as he was summoned to Pisa by one of the Lanfranchi, a warden
of the Duomo. Having proceeded thither he did for the chapel of the
Nunziata the scene where the Madonna is ascending the steps of the
temple, where the priest in his pontificals is awaiting her, a highly
finished work. The face of the priest is the portrait of the man who
had invited him, while his own is hard by. On the completion of this
work, the same patron induced him to paint over the chapel in the
Campo Santo, the Coronation of Our Lady by Jesus Christ, with many
angels, in most beautiful attitudes and very finely coloured. For the
chapel of the sacristy of St Francesco at Pisa, Taddeo also painted a
picture in tempera of the Madonna and some saints, signing his name
to it and the year 1394. About the same time he did some pictures in
tempera at Volterra, and another picture at Monte Oliveto, while on
the wall he did an Inferno, following the arrangement of Dante as
regards the division of the damned and the nature of their
punishment, but as regards the site he either could not or would not
imitate him, or perhaps he lacked the necessary knowledge. He also
sent to Arezzo a picture which is in S. Agostino containing a
portrait of Pope Gregory IX., the one who returned to Italy after the
papal court had been so many decades in France. After these things he
returned to Siena, but did not make a long stay there as he was
invited to Perugia to work in the church of S. Domenico. Here he
painted the whole of the life of St Catherine in the chapel dedicated