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The people of Siena having their army in the field against the Florentines under the captainship of Gian Tedesco, nephew of Saccone da Pietramala, and of Giovanni d'Azzo Ubaldini, this Giovanni d'Azzo fell sick in camp and was carried to Siena, where he died; wherefore, being grieved at his death, the people of Siena caused to be made for his obsequies, which were most honourable, a catafalque of wood in the shape of a pyramid, and on this they placed the statue of Giovanni himself on horseback, larger than life, made by the hand of Jacopo with much judgment and invention.
From Cortona he went to Arezzo in the year 1369, exactly when the Tarlati, formerly Lords of Pietramala, had caused Moccio, a sculptor and architect of Siena, to finish the Convent and the body of the Church of S. Agostino in that city, in the lesser aisles of which many citizens had caused chapels and tombs to be made for their families; and there, in the Chapel of S. Jacopo, Berna painted in fresco some little scenes of the life of that Saint, and especially vivid is the story of Marino the swindler, who, having by reason of greed of gold given his soul to the Devil and made thereunto a written contract in his own hand, is making supplication to the Saint to free him from this promise, while a Devil, showing him the contract, is pressing him with the greatest insistence in the world.
After this work, then, Berna painted a great Crucifix in a chapel of the Vescovado of Arezzo for Messer Guccio di Vanni Tarlati da Pietramala, and at the foot of the Cross a Madonna, S. John the Evangelist, and S. Francis, in most sorrowful attitudes, together with a S. Michelagnolo, with so much diligence that it merits no small praise, and above all by reason of having been so well preserved that it appears made only yesterday.
Then you enter the Chiesina, the first little church of the Mountain that St. Francis may have built with his own hands, and that S. Bonaventura certainly enlarged; and thus into the great Church of S. Maria Assunta, built in 1348 by the Conte di Pietramala, with its beautiful della Robbias.
And so, continuing to work now in Arezzo, and now in the neighbouring places, Niccolò was living very quietly and at his ease in his own country, when war, the capital enemy of the arts, compelled him to leave it, for, after the sons of Piero Saccone had been driven out of Pietramala and the castle had been destroyed down to its foundations, the city and the district of Arezzo were all in confusion.
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