cause that Gaddo Gaddi, Giotto, and the others afterwards made the most excellent works of that craft which have acquired for them fame and an eternal name. After the death of Andrea there was not wanting one to magnify him with this inscription:
QUI GIACE ANDREA, CH' OPRE LEGGIADRE E BELLE FECE IN TUTTA TOSCANA, ED ORA E ITO
A FAR VAGO LO REGNO DELLE STELLE.
A disciple of Andrea was Buonamico Buffalmacco, who, being very young, played him many tricks, and had from him the portrait of Pope Celestine IV, a Milanese, and that of Innocent IV, both one and the other of whom he portrayed afterwards in the pictures that he made in S. Paolo a Ripa d' Arno in Pisa. A disciple and perhaps a son of the same man was Antonio d'Andrea Tafi, who was a passing good painter; but I have not been able to find any work by his hand. There is only mention made of him in the old book of the Company of the Men of Design.
Deservedly, then, did Andrea Tafi gain much praise among the early masters, for the reason that, although he learnt the principles of mosaic from those whom he brought from Venice to Florence, he added nevertheless so much of the good to the art, putting the pieces together with much diligence and executing the work smooth as a table, which is of the greatest importance in mosaic, that he opened the way to good work to Giotto, among others, as will be told in his Life; and not only to Giotto, but to all those who have exercised themselves in this sort of painting from his day up to our own times. Wherefore it can be truly affirmed that those marvellous works which are being made to-day in S. Marco at Venice, and in other places, had their first beginning from Andrea Tafi.
GADDO GADDI
LIFE OF GADDO GADDI,
PAINTER OF FLORENCE
Gaddo, painter of Florence, displayed at this same time more design in his works, wrought after the Greek manner, than did Andrea Tafi and the other painters that were before him, and this perchance arose from the intimate friendship and intercourse that he held with Cimabue, seeing that, by reason either of their conformity of blood or of the goodness of their minds, finding themselves united one to the other by a strait affection, from the frequent converse that they had together and from their discoursing lovingly very often about the difficulties of the arts there were born in their minds conceptions very beautiful and grand; and this came to pass for them the more easily inasmuch as they were assisted by the subtlety of the air of Florence, which is wont to produce spirits both ingenious and subtle, removing continually from round them that little of rust and grossness that most times nature is not able to remove, together with the emulation and with the precepts that the good craftsmen provide in every age. And it is seen clearly that works concerted between those who, in their friendship, are not veiled with the mask of duplicity (although few so made are to be found), arrive at much perfection; and the same men, conferring on the difficulties of the sciences that they are learning, purge them and render them so clear and easy that the greatest praise comes therefrom. Whereas some, on the contrary, diabolically working with profession of friendship, and using the cloak of truth and of lovingness to conceal their envy and malice, rob them of their conceptions, in a manner that the arts do not so soon attain to that excellence which they would if love embraced the minds of the gracious spirits; as it truly bound together Gaddo and Cimabue, and in like manner Andrea Tafi and Gaddo, who was taken by Andrea into company with himself in order to finish the mosaics of S. Giovanni, where that Gaddo learnt so much that afterwards he made by himself the Prophets that are seen round that church in the square spaces beneath the windows; and having wrought these by his own self and with much better manner, they brought him very great fame. Wherefore, growing in courage and being disposed to work by himself, he applied himself continually to studying the Greek manner together with that of Cimabue. Whence, after no long time, having become excellent in the art, there was allotted to him by the Wardens of Works of S. Maria del Fiore the lunette over the principal door within the church, wherein he wrought in mosaic the Coronation of Our Lady; which work, when finished, was judged by all the masters, both foreign and native, the most beautiful that had yet been seen in all Italy in that craft, there being recognized therein more design, more judgment, and more diligence than in all the rest of the works in mosaic that were then to be found in Italy.
Wherefore, the fame of this work spreading, Gaddo was called to Rome in the year 1308 (which was the year after the fire that burnt down the Church and the Palaces of the Lateran) by Clement V, for whom he finished certain works in mosaic left imperfect by Fra Jacopo da Turrita. He then wrought certain works, also in mosaic, in the Church of S. Pietro, both in the principal chapel and throughout the church, and in particular a large God the Father, with many other figures, on the façade; and helping to finish some scenes in mosaic that are in the façade of S. Maria Maggiore, he somewhat improved the manner, and departed also a little from that manner of the Greeks, which had in it nothing whatever of the good.
Next, having returned to Tuscany, he wrought in the Duomo Vecchio without the city of Arezzo, for the Tarlati, Lords of Pietramala, certain works in mosaic on a vault that was all made of sponge-stone and served for roof to the middle part of that church, which, being too much burdened by the ancient vault of stone, fell down in the time of Bishop Gentile of Urbino, who had it afterwards all rebuilt with bricks. Departing from Arezzo, Gaddo went to Pisa, where, in the niche over the Chapel of the Incoronata in the Duomo, he made a Madonna who is ascending into Heaven, and, above, a Jesus Christ who is awaiting her and has a rich chair prepared as a seat for her; which work, for those times, was wrought so well and with so great diligence that it has been very well preserved, even to our own day. After this Gaddo returned to Florence, in mind to rest; wherefore, undertaking to make little panels in mosaic, he executed some with egg-shells, with incredible diligence and patience, as can be seen, among others, in some that are still to-day in the Church of S. Giovanni in Florence. It is read, also, that he made two of them for King Robert, but nothing more is known of these. And let this be enough to have said of Gaddo Gaddi with regard to work in mosaic.
In painting he made many panels, and among others that which is in S. Maria Novella, in the tramezzo[8] of the church, in the Chapel of the Minerbetti, and many others that were sent into diverse parts of Tuscany. And working thus, now in mosaic and now in painting, he made both in the one and in the other exercise many passing good works, which maintained him ever in good credit and reputation. I could here enlarge further in discoursing of Gaddo, but seeing that the manners of the painters of those times cannot, for the most part, render great assistance to the craftsmen, I will pass this over in silence, reserving myself to be longer in the Lives of those who, having improved the arts, can give some measure of assistance.
Gaddo lived seventy-three years, and died in 1312, and was given honourable burial in S. Croce by his son Taddeo. And although he had other sons, Taddeo alone, who was held at the baptismal font by Giotto, applied himself to painting, learning at first the principles from his father and then the rest from Giotto. A disciple of Gaddo, besides Taddeo his son, was Vicino, painter of Pisa, who wrought very well certain works in mosaic in the principal apse of the Duomo of Pisa, as these words demonstrate, that are still seen in that apse:
TEMPORE DOMINI JOANNIS ROSSI, OPERARII ISTIUS ECCLESIÆ, VICINUS PICTOR INCEPIT ET PERFECIT HANC IMAGINEM BEATÆ MARIÆ; SED MAJESTATIS, ET EVANGELISTÆ, PER ALIOS INCEPTÆ, IPSE COMPLEVIT ET PERFECIT, A.D. 1321, DE MENSE SEPTEMBRIS. BENEDICTUM SIT NOMEN DOMINI DEI NOSTRI JESU CHRISTI. AMEN.
In the Chapel of the Baroncelli, in the same Church of S. Croce, there is a portrait of Gaddo by the hand of his son Taddeo, in a Marriage of Our Lady, and beside him is Andrea Tafi. And in our aforesaid book there is a drawing by the hand of Gaddo, made in miniature, like that of Cimabue, wherein it is seen how strong he was in draughtsmanship.
Now, seeing that in an old book, from which I have drawn these few facts that have been