In the
second, he was probably at the time despondent and feeble because of
his master's death. See Lord Lindsay, II. 273, where also it is pointed
out that in the effect of the light proceeding from the figure of
Christ, Taddeo Gaddi indeed was the first of the Giottisti who showed
true sense of light and shade. But until Lionardo's time the innovation
did not materially affect Florentine art.
II. The Ascension (opposite the Resurrection, and not worth looking at,
except for the sake of making more sure our conclusions from the first
fresco). The Madonna is fixed in Byzantine stiffness, without Byzantine
dignity.
III. The Descent of the Holy Ghost, on the left hand. The Madonna and
disciples are gathered in an upper chamber: underneath are the
Parthians, Medes, Elamites, etc., who hear them speak in their own
tongues.
Three dogs are in the foreground--their mythic purpose the same as that
of the two verses which affirm the fellowship of the dog in the journey
and return of Tobias: namely, to mark the share of the lower animals in
the gentleness given by the outpouring of the Spirit of Christ.
IV. The Church sailing on the Sea of the World. St. Peter coming to
Christ on the water.
I was too little interested in the vague symbolism of this fresco to
examine it with care--the rather that the subject beneath, the literal
contest of the Church with the world, needed more time for study in
itself alone than I had for all Florence.
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