In Casentino, in the church of the Sasso del Vernia, he painted in the chapel the scene where S. Francis receives the stigmata. Here Taddeo was assisted in matters of minor importance by Jacopo di Casentino, who thus became his pupil. When this was completed Taddeo returned with Giovanni of Milan to Florence, where in the city and without they made a number of panels and pictures of importance. In the process of time Taddeo acquired so much money that, by steadily saving, he founded the wealth and nobility of his family, being always considered a wise and courteous man. In S. Maria Novella he painted the chapter-house which was allotted to him by the prior of the place, who supplied him with the idea. It is known that, because the work was a great one, and as the chapter-house of S. Spirito was uncovered at the same time as the bridges were building, to the great glory of Simone Memmi who painted it, the prior wished to secure Simone to do half of the work; accordingly he consulted Taddeo, who was very willing to agree to this, since Simone had been a fellow-pupil of Giotto with him, and they had always remained close friends and companions. O truly noble souls to love one another fraternally without emulation, ambition, or envy, so that each rejoiced at the advancement and honour of his friend as if it had been his own. The work was accordingly divided, three sides being allotted to Simone, as I have said in his life, and the left side and the whole of the vaulting to Taddeo, who divided his work into four divisions or quarters, according to the disposition of the vaulting. In the first he made the Resurrection of Christ, in which he apparently endeavours to cause the glorified body to emit light, which is reflected on a city and on some mountain rocks; but he abandoned this device in the figures and in the rest of the composition, possibly because he was not confident of his ability to carry it out, owing to the difficulties which presented themselves. In the second compartment he made Jesus Christ delivering Peter from drowning, when the apostles, who are managing the boat, are certainly very fine, and especially a man who is fishing with a line on the sea-shore (a thing first attempted by Giotto in the mosaic of the _Navicella_ in St Peter's), represented with vigorous and life-like expression. In the third he painted the Ascension of Christ, while the fourth represents the Descent of the Holy Spirit, remarkable for the fine attitudes of the Jews, who are endeavouring to enter the door. On the wall beneath are the seven sciences, with their names, and appropriate figures below each. Grammar habited like a woman is teaching a boy; beneath her sits the writer Donato. Next to Grammar sits Rhetoric, at whose feet is a figure with its two hands resting on books, while it draws a third hand from beneath a mantle and holds it to its mouth. Logic has a serpent in her hand, and is veiled, with Zeno Eleate at her feet reading.