Cimabuë and Giotto, the young Buonamico Cristofani, the Florentine,
surnamed Buffalmacco, abandoned the workshop of his master Andrea Tafi,
and proceeded to establish himself in the quarter of the fullers,
immediately opposite to the house known by the sign of the Goose's Head.
Now in those days, like fair ladies outvying one another in wearing
gowns broidered with flowers, the towns of Italy made it their pride to
cover the walls of their Churches and Cloisters with paintings. Among
all these, Florence was the most sumptuous and magnificent, and was the
place of all others for a Painter to live in. Buffalmacco knew how to
give his figures movement and expression; and, while far behind the
divine Giotto for beauty of design, he pleased the eye by the gay
exuberance of his inventions. So he was not long in getting commissions
in considerable numbers. It only depended on himself to win riches and
fame with all speed. But his chief idea was to amuse himself in company
of Bruno di Giovanni and Nello, and squander along with them, in
debauchery, all the money he made.

Now the Abbess of the Ladies of Faenza, established at Florence,
determined about this time to have the Church of their Nunnery decorated
with frescoes. Hearing that there lived in the quarter of the fullers
and wool-carders a very clever painter named Buffalmacco, she despatched
her Steward thither to come to an arrangement with him as to the
execution of the proposed paintings. The master agreed to the terms
offered and undertook the commission readily enough. He had a
scaffolding erected in the Nunnery Church and on the still moist plaster
began to paint, with wondrous vigour of execution, the history of Jesus
Christ. First of all, to the right of the Altar, he illustrated the
massacre of the Holy Innocents, and succeeded in expressing so vividly
the grief and rage of the mothers trying vainly to save their little
ones from the Roman soldiers' hands, that the very wall seemed to chant