Nor did painting encounter much better fortune in those times, save that, being then more in vogue by reason of the devotion of the people, it had more craftsmen and therefore made more evident progress than the other two. Thus it is seen that the Greek manner, first through the beginning made by Cimabue, and then with the aid of Giotto, was wholly extinguished; and there arose a new one, which I would fain call the manner of Giotto, seeing that it was discovered by him and by his disciples, and then universally revered and imitated by all. By this manner, as we see, there were swept away the outlines that wholly enclosed the figures, and those staring eyes, and the feet stretched on tip-toe, and the pointed hands, with the absence of shadow and the other monstrous qualities of those Greeks; and good grace was given to the heads, and softness to the colouring. And Giotto, in particular, gave better attitudes to his figures, and revealed the first effort to give a certain liveliness to the heads and folds to his draperies, which drew more towards nature than those of the men before him; and he discovered, in part, something of the gradation and foreshortening of figures. Besides this, he made a beginning with the expression of emotions, so that fear, hope, rage, and love could in some sort be recognized; and he reduced his manner, which at first was harsh and rough, to a certain degree of softness; and although he did not make the eyes with that beautiful roundness that makes them lifelike, and with the tear-channels that complete them, and the hair soft, and the beards feathery, and the hands with their due joints and muscles, and the nudes true to life, let him find excuse in the difficulty of the art and in the fact that he saw no better painters than himself; and let all remember, amid the poverty of art in those times, the excellence of judgment in his stories, the observation of feeling, and the subordination of a very ready natural gift, seeing that his figures were subordinate to the part that they had to play. And thereby it is shown that he had a very good, if not a perfect judgment; and the same is seen in the others after him, as in the colouring of Taddeo Gaddi, who is both sweeter and stronger, giving better tints to the flesh and better colour to the draperies, and more boldness to the movements of his figures. In Simone Sanese there is seen dignity in the composition of stories; and Stefano the Ape[8] and his son Tommaso brought about great improvement and perfection in design, invention in perspective, and harmony and unity in colouring, ever maintaining the manner of Giotto. The same was done for mastery and dexterity of handling by Spinello Aretino and his son Parri, Jacopo di Casentino, Antonio Viniziano, Lippo, Gherardo Starnina, and the other painters who laboured after Giotto, following his feeling, lineaments, colouring, and manner, and even improving them somewhat, but not so much