Having finished his labours for that lord, he complied with the request of a Prior of Florence who was then at S. Cataldo d'Arimini, and made a S. Thomas Aquinas, reading to his friars, without the door of the church. Departing thence, he returned to Ravenna and painted a chapel in fresco in S. Giovanni Evangelista, which is much extolled. Having next returned to Florence with very great honour and ample means, he painted a Crucifix on wood and in distemper for S. Marco, larger than life and on a ground of gold, which was placed on the right hand in the church. And he made another like it in S. Maria Novella, whereon Puccio Capanna, his pupil, worked in company with him; and this is still to-day over the principal door, on the right as you enter the church, over the tomb of the Gaddi. And in the same church, over the tramezzo,[11] he made a S. Louis for Paolo di Lotto Ardinghelli, and at the foot thereof the portrait of him and of his wife, from the life. Afterwards, in the year 1327, Guido Tarlati da Pietramala, Bishop and Lord of Arezzo, died at Massa di Maremma in returning from Lucca, where he had been to visit the Emperor, and after his body had been brought to Arezzo and the most magnificent funeral honours had been paid to it, Piero Saccone and Dolfo da Pietramala, the brother of the Bishop, determined that there should be made for him a tomb in marble worthy of the greatness of so notable a man, who had been a lord both spiritual and temporal, and head of the Ghibelline party in Tuscany. Wherefore, having written to Giotto that he should make the design of a tomb very rich and with all possible adornment, and having sent him the measurements, they prayed him afterwards that he should place at their disposal the sculptor who was the most excellent, according to his opinion, of all that were in Italy, because they were relying wholly on his judgment. Giotto, who was most courteous, made the design and sent it to them; and after this design, as will be told in the proper place, the said tomb was made. And because the said Piero Saccone had infinite love for the talent of this man, having taken Borgo a San Sepolcro no long time after he had received the said design, he brought from there to Arezzo a panel with little figures by the hand of Giotto, which afterwards fell to pieces; and Baccio Gondi, nobleman of Florence, a lover of these noble arts and of every talent, being Commissary of Arezzo, sought out the pieces of this panel with great diligence, and having found some brought them to Florence, where he holds them in great veneration, together with some other works that he has by the hand of the same Giotto, who wrought so many that their number is almost beyond belief. And not many years ago, chancing to be at the Hermitage of Camaldoli, where I have wrought many works for those reverend Fathers, I saw in a cell, whither it had been brought by the Very Reverend Don