HKB
Andrea Tafi, Florentine Painter.
Just as the works of Cimabue excited no small amount of wonder in the men of that time, since he introduced a better design and form into the art of painting, whereas they had only been accustomed to see things executed on the Byzantine style, so the mosaics of Andrea Tafi, who was a contemporary, were much admired and even considered divine, for the people of that day, who had not been used to see anything different did not think that it was possible to produce better works in that art. But in truth, as he was not the most capable man in the world, and having reflected that working in mosaic was more valued on account of its greater durability, be left Florence for Venice, where some Greek painters were working in mosaic at S. Marco. There he formed a close intimacy with them, and by dint of persuasion, money, and promises he at length contrived to bring to Florence Master Apollonio, a Greek painter, who taught him how to bake the glass of the mosaic, and how to make the cement in which to fix it. With him Andrea worked at the tribune of S. Giovanni, doing the upper part which contains the Dominions, Principalities, and Powers. Afterwards when he had gained more experience, he did the Christ which is in the same church above the principal chapel as will be related below. But as I have mentioned S. Giovanni, I will take this opportunity of saying that that ancient sanctuary is incrusted both within and without with marbles of the Corinthian order, and not only is it perfectly proportioned and finished in all its parts, but most beautifully adorned with doors and windows. Each face is supplied with two columns of granite, 11 braccia high, forming three compartments, above which are the architraves, which rest on the columns, to carry the whole weight of the double roof, which is praised by modern architects as a remarkable thing, and justly, because this church helped to demonstrate to Filippo di Ser Brunellesco, Donatello, and the other masters of their time what possibilities there were in that art. They all studied architecture from this building and from the church of S. Apostolo at Florence, a work of such a good style that it approaches the true antique, since, as I have said before, all the columns are measured and arranged with such care that much may be learned from a careful examination of the entire structure. But I will refrain from saying more about the good architecture of this church, though much might be added to what precedes, and I will content myself by saying that those who rebuilt the marble facade of the church of S. Miniato del Monte, deviated widely from this model and from this excellent style. This work was carried out in honour of the conversion of the blessed Giovanni Gualberto, citizen of Florence and founder of the congregation of the monks of Vallombrosa, because these and many other works erected afterwards are not to be compared for excellence to those two buildings. The art of sculpture experienced a similar fate because all the masters of the time who were then working in Italy, as has been said in the preface to the lives, were very rude. This may be seen in many places, but especially in S. Bartolommeo of the regular canons at Pistoia where there is a pulpit very rudely executed by Guido da Como, containing the beginning of the life of Jesus Christ, with these words inscribed there by the artist himself in the year 1199:
"Sculptor laudatur, quod doctus in arte probatur, Guido da Como me cunctis carmine promo."