LITMIR.BIZ

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him into four sections or quarters in accordance with the form of the vaulting itself. In the first he made the Resurrection of Christ, wherein it appears that he wished to attempt to make the splendour of the Glorified Body give forth light, as we perceive in a city and in some mountainous crags; but he did not follow this up in the figures and in the rest, doubting, perchance, that he was not able to carry it out by reason of the difficulty that he recognized therein. In the second section he made Jesus Christ delivering S. Peter from shipwreck, wherein the Apostles who are manning the boat are certainly very beautiful; and among other things, one who is fishing with a line on the shore of the sea (a subject already used by Giotto in the mosaics of the Navicella in S. Pietro) is depicted with very great and vivid feeling. In the third he painted the Ascension of Christ, and in the fourth the coming of the Holy Spirit, where there are seen many beautiful attitudes in the figures of the Jews who are seeking to gain entrance through the door. On the wall below are the Seven Sciences, with their names and with those figures below them that are appropriate to each. Grammar, in the guise of a woman, with a door, teaching a child, has the writer Donato seated below her. After Grammar follows Rhetoric, and at her feet is a figure that has two hands on books, while it draws a third hand from below its mantle and holds it to its mouth. Logic has the serpent in her hand below a veil, and at her feet Zeno of Elea, who is reading. Arithmetic is holding the tables of the abacus, and below her is sitting Abraham, its inventor. Music has the musical instruments, and below her is sitting Tubal-Cain, who is beating with two hammers on an anvil and is standing with his ears intent on that sound. Geometry has the square and the compasses, and below, Euclid. Astrology has the celestial globe in her hands, and below her feet, Atlas. In the other part are sitting seven Theological Sciences, and each has below her that estate or condition of man that is most appropriate to her—Pope, Emperor, King, Cardinals, Dukes, Bishops, Marquises, and others; and in the face of the Pope is the portrait of Clement V. In the middle and highest place is S. Thomas Aquinas, who was adorned with all the said sciences, holding below his feet some heretics—Arius, Sabellius, and Averroes; and round him are Moses, Paul, John the Evangelist, and some other figures, that have above them the four Cardinal Virtues and the three Theological, with an infinity of other details depicted by Taddeo with no little design and grace, insomuch that it can be said to have been the best conceived as well as the best preserved of all his works.

In the same S. Maria Novella, over the tramezzo[17] of the church, he also made a S. Jerome robed as a Cardinal, having such a devotion for that Saint that he chose him as the protector of his house; and below this, after the death of Taddeo, his son caused a tomb to be made for their descendants, covered with a slab of marble bearing the arms of the Gaddi. For these descendants, by reason of the excellence of Taddeo and of their merits, Cardinal Jerome has obtained from God most honourable offices in the Church—Clerkships of the Chamber, Bishoprics, Cardinalates, Provostships, and Knighthoods, all most honourable; and all these descendants of Taddeo, of whatsoever degree, have ever esteemed and favoured the beautiful intellects inclined to the matters of sculpture and painting, and have given them assistance with every effort.

      Finally, having come to the age of fifty and being smitten with a most violent fever, Taddeo passed from this life in the year 1350, leaving his son Agnolo and Giovanni to apply themselves to painting, recommending them to Jacopo di Casentino for ways of life and to Giovanni da Milano for instruction in the art. After the death of Taddeo this Giovanni, besides many other works, made a panel which was placed on the altar of S. Gherardo da Villamagna in S. Croce, fourteen years after he had been left without his master, and likewise the panel of the high-altar of Ognissanti, where the Frati Umiliati had their seat, which was held very beautiful, and the tribune of the high-altar at Assisi, wherein he made a Crucifix, with Our Lady and S. Chiara, and stories of Our Lady on the walls and sides. Afterwards he betook himself to Milan, where he wrought many works in distemper and in fresco, and there finally he died.

      Taddeo, then, adhered constantly to the manner of Giotto, but did not better it much save in the colouring, which he made fresher and more vivacious than that of Giotto, the latter having applied himself so ardently to improving the other departments and difficulties of this art, that although he gave attention to this, he could not, however, attain to the privilege of doing it, whereas Taddeo, having seen that which Giotto had made easy and having learnt it, had time to add something and to improve the colouring.

      Taddeo was buried by Agnolo and Giovanni, his sons, in the first cloister of S. Croce, in that tomb which he had made for Gaddo his father, and he was much honoured with verses by the men of culture of that time, as a man who had been greatly deserving for his ways of life and for having brought to completion with beautiful design, besides his pictures, many buildings of great convenience to his city, and besides what has been mentioned, for having carried out with solicitude and diligence the construction of the Campanile of S. Maria del Fiore, from the design left by Giotto his master; which campanile was built in such a manner that stones could not be put together with more diligence, nor could a more beautiful tower be made, with regard either to ornament, or cost, or design. The epitaph that was made for Taddeo was this that is to be read here:

      HOC UNO DICI POTERAT FLORENTIA FELIX

       VIVENTE; AT CERTA EST NON POTUISSE MORI.

      Taddeo was very resolute in draughtsmanship, as it may be seen in our book, wherein is drawn by his hand the scene that he wrought in the Chapel of S. Andrea, in S. Croce at Florence.

      ANDREA DI CIONE ORCAGNA

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      LIFE OF ANDREA DI CIONE ORCAGNA,

      PAINTER, SCULPTOR, AND ARCHITECT, OF FLORENCE

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      Rarely is a man of parts excellent in one pursuit without being able easily to learn any other, and above all any one of those that are akin to his original profession, and proceed, as it were, from one and the same source, as did the Florentine Orcagna, who was painter, sculptor, architect, and poet, as it will be told below. Born in Florence, he began while still a child to give attention to sculpture under Andrea Pisano, and pursued it for some years; then, being desirous to become abundant in invention in order to make lovely historical compositions, he applied himself with so great study to drawing, assisted by nature, who wished to make him universal, that having tried his hand at painting with colours both in distemper and in fresco, even as one thing leads to another, he succeeded so well with the assistance of Bernardo Orcagna, his brother, that this Bernardo took him in company with himself to paint the life of Our Lady in the principal chapel of S. Maria Novella, which then belonged to the family of the Ricci. This work, when finished, was held very beautiful, although, by reason of the neglect of those who afterwards had charge of it, not many years passed before, the roof becoming ruined, it was spoilt by the rains and thereby brought to the condition wherein it is to-day, as it will be told in the proper place. It is enough for the present to say that Domenico Ghirlandajo, who repainted it, availed himself greatly of the invention put into it by Orcagna, who also painted in fresco in the same church the Chapel of the Strozzi, which is near to the door of the sacristy and of the belfry, in company with Bernardo, his brother. In this chapel, to which one ascends by a staircase of stone, he painted on one wall the glory of Paradise, with all the Saints and with various costumes and head-dresses of those times. On the other wall he made Hell, with the abysses, centres, and other things described by Dante, of whom Andrea was an ardent student. In the Church of the Servites in the same city he painted in fresco, also with Bernardo, the Chapel of the family of Cresci; with a Coronation of Our Lady on a very large panel in S. Pietro Maggiore, and a panel in S. Romeo, close to the side-door. In like manner, he and his brother Bernardo painted the outer façade of S. Apollinare, with so great diligence that the colours in that exposed place have been preserved marvellously vivid and beautiful up to our own day.

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