Chap. XIII. ALTAEPIECES. 361 conceived it. The Magdalen grasps the foot of the cross; and the Virgin and S. John Evangelist stand at each side. Above this also, a scene from the life of S. Nicolas of Bari is depicted, in which, 1 as in its counterpart on the other side, individuality and animation are conspicuous. None, indeed, but a pupil of Giotto could have followed with such certainty his laws of composition. The Saints on the altarpiece, 2 when closed, are inferior to the inner subjects; and, in the rudeness of their execution, recal more than the rest the rougher manner of the frescos in the Baroncelli chapel. But doubtless, much of this bad effect is caused by rubbing down. 3 Another, and, if pos sible, still more important example than the foregoing is an altarpiece in the sacristy of S. Pietro a Megognano Dear Poggibonsi inscribed: “Taddeus Gaddi d Floretia me pTxit. M.CCCLV. Questa tavola fece fare Giovanni di S.S. Segnia p remedio dl anima sua ed suoi passati.” 4 This picture which is a Virgin and child enthroned amongst angels, confirms all that has been said as to the characteristics of the painter’s manner, and shows what 1 The saint presents the child with the cup to its surprised pa rents, who sit at a table. 2 S.S. Margaret, Catherine, and Christopher carrying the Saviour. Christ between the Virgin and Evangelist. These form No. 1081 of the Berlin catalogue. The three panels, forming originally an altarpiece, were in the Gallery of M r . Solly. 3 In the Bigallo at Florence in the room of the “Commissario” is a small triptych which, with slight exception, corresponds exactly with the picture at Berlin (some saints here and there being dif ferent). The subjects, the com position, are similar. The painting too has the same character and beauty as that of Berlin and is by the same hand. The painter’s name is absent, but on the border of the central pinnacle are the words: “Anno Domini MCCCXXXIII”. This is a very pretty and well preserved piece, showing how the painters of this period repeated themselves. Another very pretty picture in the same character was preserved till quite lately in the convent of the Angeli at Florence. It repre sented the crucifixion and saints — a triptych with gables. 4 The signature and date on the step of the throne, — the rest on the lower edge of the pic ture. The arms of the donor are above the signature — 3 roses and bar on field azure, probably arms of the Segni. 5 The Virgin enthroned holds the infant on her lap. He has a
