The name of Cimabue having become generally known through these works, he was taken to Assisi, a city of Umbria, where, in conjunction with some Greek masters, he painted a part of the vaulting of the lower Church of S. Franceso, and on the walls, the life of Jesus Christ and that of St Francis. In these paintings he far surpassed the Greek masters, and encouraged by this, he began to paint the upper church in fresco unaided, and on the large gallery over the choir, on the four walls, he painted some subjects from the history of Our Lady, that is to say, her death, when her soul is carried to Heaven by Christ on a throne of clouds, and when He crowns her in the midst of a choir of angels, with a number of saints beneath. These are now destroyed by time and dust. He then painted several things at the intersections of the vaulting of that church, which are five in number. In the first one over the choir he represented the four Evangelists, larger than life-size, and so well done, that even to-day they are acknowledged to possess some merit; and the freshness of the flesh colouring shows, that by his efforts, fresco-painting was beginning to make great progress. The second intersection he filled with gilt stars on an ultramarine field. In the third he represented Jesus Christ, the Virgin his mother, St John the Baptist and St Francis in medallions, that is to say, a figure in each medallion and a medallion in each of the four divisions of the vault. The fourth intersection like the second he painted with gilt stars on ultramarine. In the fifth he represented the four Doctors of the church, and beside each of them a member of the four principal religious orders. This laborious undertaking was carried out with infinite diligence. When he had finished the vaults he painted the upper part of the walla on the left side of the church from one end to the other, also in fresco. Near the high altar between the windows and right up to the vaulting he represented eight subjects from the Old Testament, starting from the beginning of Genesis and selecting the most noteworthy incidents. In the space flanking the windows to the point where they terminate at the gallery which runs round the inside of the church, he painted the remainder of the Old Testament history in eight other subjects. Opposite these and corresponding to them he painted sixteen subjects representing the deeds of Our Lady and of Jesus Christ, while on the end wall over the principal entrance and about the rose window above it, he painted the Ascension and the descent of the Holy Spirit upon the apostles. This work which is most extraordinary for richness and beauty, must, in my opinion, have astounded the people of those times, painting having been in such blindness for so long a apace. When I saw it again in the year 1563 it seemed most beautiful, as I reflected how marvellous it was that Cimabue should see so much light in the midst of so great darkness.