In the other part are sitting seven Theological Sciences, and each has below her that estate or condition of man that is most appropriate to her--Pope, Emperor, King, Cardinals, Dukes, Bishops, Marquises, and others; and in the face of the Pope is the portrait of Clement V. In the middle and highest place is S. Thomas Aquinas, who was adorned with all the said sciences, holding below his feet some heretics--Arius, Sabellius, and Averroes; and round him are Moses, Paul, John the Evangelist, and some other figures, that have above them the four Cardinal Virtues and the three Theological, with an infinity of other details depicted by Taddeo with no little design and grace, insomuch that it can be said to have been the best conceived as well as the best preserved of all his works. In the same S. Maria Novella, over the tramezzo[17] of the church, he also made a S. Jerome robed as a Cardinal, having such a devotion for that Saint that he chose him as the protector of his house; and below this, after the death of Taddeo, his son caused a tomb to be made for their descendants, covered with a slab of marble bearing the arms of the Gaddi. For these descendants, by reason of the excellence of Taddeo and of their merits, Cardinal Jerome has obtained from God most honourable offices in the Church--Clerkships of the Chamber, Bishoprics, Cardinalates, Provostships, and Knighthoods, all most honourable; and all these descendants of Taddeo, of whatsoever degree, have ever esteemed and favoured the beautiful intellects inclined to the matters of sculpture and painting, and have given them assistance with every effort. Finally, having come to the age of fifty and being smitten with a most violent fever, Taddeo passed from this life in the year 1350, leaving his son Agnolo and Giovanni to apply themselves to painting, recommending them to Jacopo di Casentino for ways of life and to Giovanni da Milano for instruction in the art. After the death of Taddeo this Giovanni, besides many other works, made a panel which was placed on the altar of S. Gherardo da Villamagna in S. Croce, fourteen years after he had been left without his master, and likewise the panel of the high-altar of Ognissanti, where the Frati Umiliati had their seat, which was held very beautiful, and the tribune of the high-altar at Assisi, wherein he made a Crucifix, with Our Lady and S. Chiara, and stories of Our Lady on the walls and sides. Afterwards he betook himself to Milan, where he wrought many works in distemper and in fresco, and there finally he died.