His disciples were Taddeo Gaddi, held by him at baptism, as has been said, and Puccio Capanna of Florence, who, working at Rimini in the Church of S. Cataldo, belonging to the Preaching Friars, painted perfectly in fresco the hull of a ship which appears to be sinking in the sea, with men who are throwing things into the sea, one of whom is Puccio himself portrayed from life among a good number of mariners. The same man painted many works after the death of Giotto in the Church of S. Francesco at Assisi, and in the Church of S. Trinita in Florence, near the side-door towards the river, he painted the Chapel of the Strozzi, wherein is the Coronation of the Madonna in fresco, with a choir of angels which draw very much to the manner of Giotto; and on the sides are stories of S. Lucia, very well wrought. In the Badia of Florence he painted the Chapel of S. Giovanni Evangelista, belonging to the family of Covoni, beside the sacristry; and in Pistoia he wrought in fresco the principal chapel of the Church of S. Francesco and the Chapel of S. Lodovico, with the stories of those Saints, passing well painted. In the middle of the Church of S. Domenico, in the same city, there are a Crucifix, a Madonna, and a S. John, wrought with much sweetness, and at their feet a complete human skeleton, wherein (and this was something unusual in those times) Puccio showed that he had sought to find the foundations of art. In this work there is read his name, written by himself in this fashion: PUCCIO DI FIORENZA ME FECE. In the arch over the door of S. Maria Nuova in the said church there are three half-length figures by his hand, Our Lady with the Child in her arms, and S. Peter on one side, and on the other S. Francis. He also painted in the aforesaid city of Assisi, in the lower Church of S. Francesco, some scenes of the Passion of Jesus Christ in fresco, with good and very resolute mastery, and in the chapel of the Church of S. Maria degli Angeli he wrought in fresco a Christ in Glory, with the Virgin praying to Him for the Christian people; this work, which is passing good, has been all blackened by the smoke of the lamps and the candles that are burning there continually in great quantity. And in truth, in so far as it can be judged, Puccio had the manner and the whole method of working of his master Giotto, and knew how to make good use of it in the works that he wrought, even if, as some have it, he did not live long, having fallen sick and died by reason of laboring too much in fresco. By his hand, in so far as is known, is the Chapel of S. Martino in the same church, with the stories of that Saint, wrought in fresco for Cardinal Gentile. There is seen, also, in the middle of the street called Portica, a Christ at the Column, and in a square picture there is Our Lady, with S. Catherine and S. Clara, one on either side of her. There are works by his hand scattered about in many other places, such as a panel with the Passion of Christ, and stories of S. Francis, in the tramezzo of the church in Bologna; and many others, in short, that are passed by for the sake of brevity. I will say, indeed, that in Assisi, where most of his works are, and where it appears to me that he assisted Giotto in painting, I have found that they hold him as their fellow-citizen, and that there are still to-day in that city some of the family of the Capanni. Wherefore it may easily be believed that he was born in Florence, having written so himself, and that he was a disciple of Giotto, but that afterwards he took a wife in Assisi, that there he had children, and that now he has descendants there. But because it is of little importance to know this exactly, it is enough to say that he was a good master.
Likewise a disciple of Giotto and a very masterly painter was Ottaviano da Faenza, who painted many works at Ferrara in S. Giorgio, the seat of the Monks of Monte Oliveto; and in Faenza, where he lived and died, he painted, in the arch over the door of S. Francesco, a Madonna, S. Peter and S. Paul, and many other works in his said birthplace and in Bologna.
A disciple of Giotto, also, was Pace da Faenza, who stayed with him long and assisted him in many works; and in Bologna there are some scenes in fresco by his hand on the façade of S. Giovanni Decollato. This Pace was an able man, particularly in making little figures, as can be seen to this day in the Church of S. Francesco at Forlì, in a Tree of the Cross, and in a little panel in distemper, wherein is the life of Christ, with four little scenes from the life of Our Lady, all very well wrought. It is said that he wrought in fresco, in the Chapel of S. Antonio at Assisi, some stories of the life of that Saint, for a Duke of Spoleto who is buried in that place together with his son, both having died fighting in certain suburbs of Assisi, according to what is seen in a long inscription that is on the sarcophagus of the said tomb. In the old book of the Company of Painters it is found that the same man had another disciple, Francesco, called di Maestro Giotto, of whom I have nothing else to relate.
Guglielmo of Forlì was also a disciple of Giotto, and besides many other works he painted the chapel of the high-altar in S. Domenico at Forlì, his native city. Disciples of Giotto, also, were Pietro Laurati and Simon Memmi of Siena, Stefano, a Florentine, and Pietro Cavallini, a Roman; but, seeing that of all these there is account in the Life of each one of them, let it suffice to have said in this place that they were disciples of Giotto, who drew very well for his time and for that manner, whereunto witness is borne by many sheets of parchment drawn by his hand in water-color, outlined with the pen, in chiaroscuro, with the high lights in white, which are in our book of drawings, and are truly a marvel in comparison with those of the masters that lived before him.
Giotto, as it has been said, was very ingenious and humorous, and very witty in his sayings, whereof there is still vivid memory in that city; for besides that which Messer Giovanni Boccaccio wrote about him, Franco Sacchetti, in his three hundred Stories, relates many of them that are very beautiful. Of these I will not forbear to write down some with the very words of Franco himself, to the end that, together with the story itself, there may be seen certain modes of speech and expressions of those times. He says in one, then, to give it its heading:
“To Giotto, a great painter, is given a buckler to paint by a man of small account. He, making a jest of it, paints it in such a fashion that the other is put to confusion.”
The story: “Everyone must have heard already who was Giotto, and how great a painter he was above every other. A clownish fellow, having heard his fame and having need, perchance for doing watch and ward, to have a buckler of his painted, went off incontinent to the shop of Giotto, with one who carried his buckler behind him, and, arriving where he found Giotto, said, ‘God save thee, master, I would have thee paint my arms on this buckler.’ Giotto, considering the man and the way of him, said no other word save this, ‘When dost thou want it?’ And he told him; and Giotto said, ‘Leave it to me’; and off he went. And Giotto, being left alone, ponders to himself, ‘What meaneth this? Can this fellow have been sent to me in jest? Howsoever it may be, never was there brought to me a buckler to paint, and he who brings it is a simple manikin and bids me make him his arms as if he were of the blood-royal of France; i’ faith, I must make him a new fashion of arms.’ And so, pondering within himself, he put the said buckler before him, and, having designed what seemed good to him, bade one of his disciples finish the painting, and so he did; which painting was a helmet, a gorget, a pair of arm-pieces, a pair of iron gauntlets, a cuirass and a back-piece, a pair of thigh-pieces, a pair of leg-pieces, a sword, a dagger, and a lance. The great man, who knew not what he was in for, on arriving, comes forward and says, ‘Master, is it painted, that buckler?’ Said Giotto, ‘Of a truth, it is; go, someone, and bring it down.’ The buckler coming, that would-be gentleman begins to look at it and says to Giotto, ‘What filthy mess is this that thou hast painted for me?’ Said Giotto, ‘And it will seem to thee a right filthy business in the paying.’ Said he, ‘I will not pay four farthings for it.’ Said Giotto, ‘And what didst thou tell me that I was to paint?’ And he answered, ‘My arms.’ Said Giotto, ‘And are they not here? Is there one wanting?’ Said the fellow, ‘Well, well!’ Said Giotto, ‘Nay, ’tis not well, God help thee! And a great booby must thou be, for if one asked thee, “Who art thou?” scarce wouldst thou be able to tell; and here thou comest and sayest, “Paint me my arms!” An thou hadst been one of the Bardi, that were enough. What arms dost thou bear? Whence art thou? Who were thy ancestors? Out upon thee! Art not ashamed of thyself? Begin first to come into the world before thou pratest of arms as if thou wert Dusnam of Bavaria. I have made thee a whole suit of armor on thy buckler; if there be one piece wanting, name it, and I will have it painted.’ Said he, ‘Thou dost use vile words to me, and hast spoilt me a buckler;’ and taking himself off, he went to the justice and had Giotto summoned. Giotto appeared and had him summoned,