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Chap. XIII. PRESSES OF S. CROCE. 363 and 1355, and the frescos of the Baroncelli chapel. Nor are the further peculiarities of Taddeo, namely, gaiety of colour, depth of impasto and dash in the handling, less marked than in the certain examples of his hand. The panel at Berlin is undoubtedly the best preserved of the series; and precisely there, the style of Giotto’s pupil is most positively developed. The composition of the descent of the Holy Spirit 1 at Berlin belongs to the second series preserved in the Academy of Arts at Florence, and is, like its companion representing the miracle of the fallen child, in good pre servation; but of the thirteen panels, the finest is the transfiguration, which has the magnificence of the com positions of Giotto carried out by Andrea Pisano in the bronze gates of the Baptistery of Florence. The Saviour is represented ascending from Mount Tabor with Enoch and Elias at his sides, whilst three apostles are prostrate on the ground in terror at the extraordinary light that shines in the heavens. Yet splendid as the composition undoubtedly is, the execution has the defects of Taddeo Gaddi. 2 * S. Croce could boast in the fourteenth century of more frescos by the pupil than by Giotto himself. 3 exact counterpart of the fresco at Assisi and so is No. 9. 1 No. 1073. Berlin Catal. As signed to Giotto. 2 The rest of the series at the Academy of Florence, comprises No. 18. The salutation. No. 19. The adoration of the shepherds. No. 20. The adoration of the Magi. No. 21. The presentation in the temple. No. 22. Christ amongst the doctors. No. 23. The Bap tism of the Saviour. No. 24. The transfiguration. No. 25. The last supper. No. 26. The crucifixion. Here the form of the Saviour is less perfect in form, shorter and of worse proportions than in the pictures of Giotto. No. 27. The resurrection. No. 28. Noli me tangere. No. 29. The incredulity of S. Thomas. 3 He adorned the walls of the chapel belonging to the Bellaci family, and executed two inci dents from the life of S. Peter in the cappella di S. Andrea. (The drawing of one of these in cidents, was in Vasari’s album. Vas. Vol. II. p. 121.) At the lower side of the tomb of Carlo Mar- zuppini was a Pieta which he had produced; and in the great screen of the church the miracle of the fallen child of the Spini family, with portraits in it of Giotto, Dante, and others. (Vas. Vol. II. p.p. 110—11, and Vol. III. p. 198.) Beneath this fresco was after wards a crucifix by Donatello. Ibid.)