Without doubt those who are inventors of anything notable receive the greatest attention from the pens of the writers of history, and this comes to pass because the first inventions are more observed and held in greater marvel, by reason of the delight that the novelty of the thing brings with it, than all the improvements made afterwards by any man whatsoever when works are brought to the height of perfection, for the reason that if a beginning were never given to anything, there would be no advance and improvement in the middle stages, and the end would not become excellent and of a marvellous beauty. Duccio, then, painter of Siena and much esteemed, deserved to carry off the palm from those who came many years after him, since in the pavement of the Duomo of Siena he made a beginning in marble for the inlaid work of the figures in chiaroscuro, wherein to-day modern craftsmen have made the marvels that are seen in them. He applied himself to the imitation of the old manner, and with very sane judgment gave dignified forms to his figures, which he fashioned very excellently in spite of the difficulties of such an art. With his own hand, imitating the pictures in chiaroscuro, he arranged and designed the beginnings of the said pavement, and he made in the Duomo a panel that was then placed on the high-altar, and afterwards removed thence in order to place there the Tabernacle of the Body of Christ, which is seen there at the present day. In this panel, according to the description of Lorenzo di Bartolo Ghiberti, there was a Coronation of Our Lady, wrought, as it were, in the Greek manner, but blended considerably with the modern. And as it was painted both on the back part and on the front, the said high-altar being isolated right round, on the said back part there had been made by Duccio with much diligence all the principal stories of the New Testament, with very beautiful little figures. I have sought to learn where this panel is to be found to-day, but, for all the diligence that I have thereunto used, I have never been able to discover it, or to learn what Francesco di Giorgio, the sculptor, did with it when he remade the said tabernacle in bronze, as well as the marble ornaments that are therein.