in all Tuscany in the time of him who wrought it. After this he painted a S. Thomas Aquinas beside a door in the first cloister of S. Maria Novella, where he also made a Crucifix, which was afterwards executed in a bad manner by other painters in restoring it. In like manner he left a chapel in the church begun and not finished, which has been much eaten away by time, wherein the angels are seen raining down in diverse forms by reason of the pride of Lucifer; where it is to be noticed that the figures, with the arms, trunks, and legs foreshortened much better than any foreshortenings that had been made before, give us to know that Stefano began to understand and to demonstrate in part the difficulties that those men had to reduce to excellence, who afterwards, with greater science, showed them to us, as they have done, in perfection; wherefore the surname of "The Ape of Nature" was given him by the other craftsmen. Next, being summoned to Milan, Stefano made a beginning for many works for Matteo Visconti, but was not able to finish them, because, having fallen sick by reason of the change of air, he was forced to return to Florence. There, having regained his health, he made in fresco, in the tramezzo[14] of the Church of S. Croce, in the Chapel of the Asini, the story of the martyrdom of S. Mark, when he was dragged to death, with many figures that have something of the good. Being then summoned to Rome by reason of having been a disciple of Giotto, he made some stories of Christ in S. Pietro, in the principal chapel wherein is the altar of the said Saint, between the windows that are in the great choir-niche, with so much diligence that it is seen that he approached closely to the modern manner, surpassing his master Giotto considerably in draughtsmanship and in other respects. After this, on a pillar on the left-hand side of the principal chapel of the Araceli, he made a S. Louis in fresco, which is much praised, because it has in it a vivacity never displayed up to that time even by Giotto. And in truth Stefano had great facility in draughtsmanship, as can be seen in our said book in a drawing by his hand, wherein is drawn the Transfiguration (which he painted in the cloister of S. Spirito), in such a manner that in my judgment he drew much better than Giotto.