But the roof must first be looked at alone, as the work of
Taddeo Gaddi, for the artistic qualities and failures of it.
I. In front, as you enter, is the compartment with the subject of the
Resurrection. It is the traditional Byzantine composition: the guards
sleeping, and the two angels in white saying to the women, "He is not
here," while Christ is seen rising with the flag of the Cross.
But it would be difficult to find another example of the subject, so
coldly treated--so entirely without passion or action. The faces are
expressionless; the gestures powerless. Evidently the painter is not
making the slightest effort to conceive what really happened, but
merely repeating and spoiling what he could remember of old design, or
himself supply of commonplace for immediate need. The "Noli me
tangere," on the right, is spoiled from Giotto, and others before him;
a peacock, woefully plumeless and colourless, a fountain, an ill drawn
toy-horse, and two toy-children gathering flowers, are emaciate remains
of Greek symbols. He has taken pains with the vegetation, but in vain.
Yet Taddeo Gaddi was a true painter, a very beautiful designer, and a
very amiable person. How comes he to do that Resurrection so badly?
In the first place, he was probably tired of a subject which was a
great strain to his feeble imagination; and gave it up as impossible:
doing simply the required figures in the required positions.
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