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Cnxp. I. NICCOLO DI PIETRO GEKINI. 21 natural movement, fair shape and drapery likewise mark the neighbouring group of the Marys. A thoroughly Giottesque form, again, may be noticed in the ascension. 1 In general the remains of these damaged frescos 2 would prove that Niccolo was a diligent and careful painter, whose colour wants force and fusion, though it has a certain liveliness and gaiety. In the draperies, the chang ing hues appear to have been favorites. The outlines and frames of the figures are reminiscent of the Giottes- que type, but inferior to those of Spinello, to whom in deed, Niccolo was also second in composition. On the other hand he tried to finish hands, feet, and articulations, and was in this not only above Spinello, but beyond Agnolo Gaddi. Still his painting, compared to that of either of those masters, is lifeless and third rate. Reverting for an instant to the Entombment in the Aca demy of Arts at Florence assigned to Taddeo Gaddi: The spectator may note in the composition, which is formed of life size figures, complete want of rest and over charge of figures. The Saviour, ascending in the upper part, is of noble and good proportions, the face youthful and the attitude fair, hut the angels are in vehement action. 3 In the principal scene, the Saviour lies very long on the tomb with hips enveloped in a drapery, but the spectator has before him a stiff, hard corpse, of which the form has been sought out and studied rvithout the genius of ensemble so striking in Giotto. Some merit may be detected in the soft expression of the face, but the flesh tints are light and flat, hence comparatively unrelieved. The remaining figures are long and slender like those of Taddeo Gaddi and affect his peculiarities of shape, but some of the types are very common 1 and the Virgin, at the Saviour’s head, haa the 1 The Saviour of fair character and proportions in an elliptical glory is surrounded by a choir of 12 angels playing, whilst below, the Virgin, Marys and apostles stand under guard of two angels. The foreground is discoloured. 2 Rmnohr (Forschungcn Vol. II. p. 224) records that the paintings were executed for Lorenzo Ciam- polini, on whose tomb are these words: “... MCCCLXXXX die XX mensis Aprilis, qui Laurentius fecit ipsum capitulum, pietura et sedibus adornari.” 3 Their white dresses are res tored. 4 For instance, that of S. John kissing the hands of the Saviour
