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Chap. XIII. REFECTORY OF S. CROCE. 365 Jesse and side frescos, is executed, however, with a certain ease of hand and betrays an artist of the middle of the fourteenth century confident in somewhat slender powers, and sacrificing the great principles of art to bold ness and rapidity of execution. Should his name ever become known, it may appear that he is also the author of a crucifixion in the sacristy of S. Croce, surrounded by smaller frescos assigned to Taddeo Gaddi, but which must be restored to their real author Niccola di Pietro, better known as Gerini. 1 The same hand will be found to have produced a crucifixion with four angels in various attitudes, hovering in the air, the Magdalen at the foot, the Virgin, S. John and two monks at the sides of the cross in the sacristy of Ognissanti, 2 better perhaps in the proportion of the figures than those of Santa Croce, and especially interesting as showing that the author of them must have been the teacher or forerunner of the artist who executed the frescos of the patient Job at the Campo Santo at Pisa. It will not be necessary to revert to the works assigned to Taddeo Gaddi at S. Croce further than to state that the frescos in the Rinuccini chapel are obviously of a later date and productions of Taddeo’s friend Giovanni da Milano. 3 It is, indeed, re markable that Vasari, who always pretends to recognize a master’s work by his style, should have been in too much haste to discern the difference between the works of Taddeo and those of artists like Giovanni; — those of inferior men like the painter of the crucifixions in the 1 See later the Gerini. At the sides of the cross the Virgin, S. John Evangelist, the Magda len, S. Francis, S. Louis, and S. Helen; in the air about it, six angels complete a fresco exactly similar in character to the cruci- lixion and tree of Jesse in the great refectory. 2 These paintings have suffered much from damp. 3 Above the false ceiling of the cappella Velluti in the Carmine, remains of paintings, particularly a profile of an apostle, perhaps S. Peter, were recently discovered. The character of this painting, Giottesque of the last half of the 14 th century, is fine, the colour warm, and the handling bold. This head, removed by one of the monks, much altered by retouching of the outlines, and made opaque in colour, is now in possession of M r . Layard.
