Mornings in Florence

by John Ruskin

The correspondent walls represent: under the first quarter, (the Resurrection), the story of the Crucifixion; under the second quarter, (the Ascension), the preaching after that departure, that Christ will return—symbolized here in the Dominican church by the consecration of St. Dominic; under the third quarter, (the descent of the Holy Spirit), the disciplining power of human virtue and wisdom; under the fourth quarter, (St. Peter's Ship), the authority and government of the State and Church.

The order of these subjects, chosen by the Dominican monks themselves, was sufficiently comprehensive to leave boundless room for the invention of the painter. The execution of it was first intrusted to Taddeo Gaddi, the best architectural master of Giotto's school, who painted the four quarters of the roof entirely, but with no great brilliancy of invention, and was beginning to go down one of the sides, when, luckily, a man of stronger brain, his friend, came from Siena. Taddeo thankfully yielded the room to him; he joined his own work to that of his less able friend in an exquisitely pretty and complimentary way; throwing his own greater strength into it, not competitively, but gradually and helpfully. When, however, he had once got himself well joined, and softly, to the more simple work, he put his own force on with a will and produced the most noble piece of pictorial philosophy [Footnote: There is no philosophy taught either by the school of Athens or Michael Angelo's 'Last Judgment,' and the 'Disputa' is merely a graceful assemblage of authorities, the effects of such authority not being shown.] and divinity existing in Italy.

This pretty, and, according to all evidence by me attainable, entirely true, tradition has been all but lost, among the ruins of fair old Florence, by the industry of modern mason-critics—who, without exception, labouring under the primal (and necessarily unconscious) disadvantage of not knowing good work from bad, and never, therefore, knowing a man by his hand or his thoughts, would be in any case sorrowfully at the mercy of mistakes in a document; but are tenfold more deceived by their own vanity, and delight in overthrowing a received idea, if they can.

Farther: as every fresco of this early date has been retouched again and again, and often painted half over,—and as, if there has been the least care or respect for the old work in the restorer, he will now and then follow the old lines and match the old colours carefully in some places, while he puts in clearly recognizable work of his own in others,—two critics, of whom one knows the first man's work well, and the other the last's, will contradict each other to almost any extent on the securest grounds. And there is then no safe refuge for an uninitiated person but in the old tradition, which, if not literally true, is founded assuredly on some root of fact which you are likely to get at, if ever, through it only. So that my general directions to all young people going to Florence or Rome would be very short: "Know your first volume of Vasari, and your two first books of Livy; look about you, and don't talk, nor listen to talking."

On those terms, you may know, entering this chapel, that in Michael Angelo's time, all Florence attributed these frescos to Taddeo Gaddi and Simon Memmi.

I have studied neither of these artists myself with any speciality of care, and cannot tell you positively, anything about them or their works. But I know good work from bad, as a cobbler knows leather, and I can tell you positively the quality of these frescos, and their relation to contemporary panel pictures; whether authentically ascribed to Gaddi, Memmi, or any one else, it is for the Florentine Academy to decide.

The roof, and the north side, down to the feet of the horizontal line of sitting figures, were originally third-rate work of the school of Giotto; the rest of the chapel was originally, and most of it is still, magnificent work of the school of Siena. The roof and north side have been heavily repainted in, many places; the rest is faded and injured, but not destroyed in its most essential qualities. And now, farther, you must bear with just a little bit of tormenting history of painters.

There were two Gaddis, father and son,—Taddeo and Angelo. And there were two Memmis, brothers,—Simon and Philip.

I daresay you will find, in the modern books, that Simon's real name was Peter, and Philip's real name was Bartholomew; and Angelo's real name was Taddeo, and Taddeo's real name was Angelo; and Memmi's real name was Gaddi, and Gaddi's real name was Memmi. You may find out all that at your leisure, afterwards, if you like. What it is important for you to know here, in the Spanish Chapel, is only this much that follows:—There were certainly two persons once called Gaddi, both rather stupid in religious matters and high art; but one of them, I don't know or care which, a true decorative painter of the most exquisite skill, a perfect architect, an amiable person, and a great lover of pretty domestic life. Vasari says this was the father, Taddeo. He built the Ponte Vecchio; and the old stones of it—which if you ever look at anything on the Ponte Vecchio but the shops, you may still see (above those wooden pent-houses) with the Florentine shield—were so laid by him that they are unshaken to this day.

He painted an exquisite series of frescos at Assisi from the Life of Christ; in which,—just to show you what the man's nature is,—when the Madonna has given Christ into Simeon's arms, she can't help holding out her own arms to him, and saying, (visibly,) "Won't you come back to mamma?" The child laughs his answer—"I love you, mamma; but I'm quite happy just now."