Son vestiti di vergato, Bianco, rosso e frammezzato; Le ghirlande in mezo el capo: Ben mi pareno amatori.
Tutti quanti con ghirlandi, Paren giovin' de trent' anni: Quella corte se rinfranchi, Ogni cosa è piena d'amore.
Le ghirlande son fiorite, Più che l'oro son chiarite: Ornate son di margarite, Divisate di colore, ecc.[33]
Above from the heavenly Jerusalem stream rays of golden light, and two angels who are passing into the portal, are aerial and luminous, as bright and splendid spirits.
Less original is the representation of Hell, which is copied straight from the fresco in the Pisan Camposanto. Not only the same division of bolge (hell-pits), but even the repetition of motives in the souls that fill them; the only and notable difference is the figure of Lucifer which instead of being in the centre occupies the base of the picture. At the summit "Eriton cruda, che richiamava l'ombre a' corpi sui," is precisely in the same attitude as in the Pisan Camposanto, a figure holding a banner coiled around by a serpent, and near it is a simoniac with his entrails torn out, the identical figure from the Pisan Hell. The back view of the figure which a demon raises to throw into the jaws of a terrible monster is also copied entire from the same fresco.
The bolge and the damned souls which occupy them, are, as we have said, repetitions, but with less intelligence and character than the Pisan fresco.
