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 facade; and helping to finish some scenes in mosaic that are in the facade 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.