things absolutely), that he was the son of Stefano, painter of Florence. Tommaso was so diligent in painting and so fond of it, that although not many of his works have been found, yet those which are extant are good and in excellent style. For the draperies, hair, beards, and other details are executed and composed with such grace and care that they prove him to have possessed a far better idea of unity in art than was to be found in the works of Giotto, master of Stefano his father. In his youth Giottino painted in S. Stefano at the Ponte Vecchio at Florence, a chapel by the side door, and although it has suffered a great deal from the damp, yet enough remains to prove the skill and genius of the craftsman. He next did SS. Cosmo and Damian beside the mills in the Frati Ermini, of which but little can now be seen owing to the ravages of time. He did a chapel in fresco in the old S. Spirito of that city, which was afterwards destroyed at the burning of that church. Over the principal door of the same church he painted in fresco the Descent of the Holy Spirit, and on the piazza of the church, leading to the side of the Cuculia, next the convent, he did the tabernacle which may still be seen there, with Our Lady and other saints about her, who in their heads and other parts approach very closely to the modern style, because Tommaso endeavoured to vary and change the flesh tints and to combine a graceful and judicious treatment of the figures with variety in the colouring and in the draperies. In the chapel of St Silvester at S. Croce he did the history of Constantine with great care, with many fine ideas in the gestures of the figures. His next work was to be placed behind a marble ornament made for the tomb of M. Bettino de' Bardi, a man of eminent military rank of the time. He represented him from life, in armour, rising on his knees from the tomb, summoned by the Last Trump sounded by two angels who accompany a Christ in the clouds, very well done. At the entrance to S. Pancrazio, on the right hand side, he did a Christ carrying the cross, and some saints near, markedly in Giotto's style. In S. Gallo, a convent outside the gate of that name, and which was destroyed at the siege, he painted a Pieta in fresco in a cloister, a copy of which is in S. Pancrazio mentioned above, on a pilaster beside the principal chapel. He painted SS. Cosmo and Damian in fresco in S. Maria Novella at the chapel of St Lorenzo de' Giuochi, at the entry of the church by the right hand door, on the front wall. In Ognissanti he did a St Christopher and a St George, which were ruined by bad weather and were restored by some ignorant painters. An uninjured work of Tommaso in the same church is in the tympanum over the sacristy door, which contains a Madonna in fresco, with the child in her arms; it is a good thing as he took pains with it.