Mornings in Florence

by John Ruskin

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. 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.

On this, and the opposite side of the chapel, are represented, by Simon Memmi's hand, the teaching power of the Spirit of God, and the saving power of the Christ of God, in the world, according to the understanding of Florence in his time.

We will take the side of Intellect first, beneath the pouring forth of the Holy Spirit.

In the point of the arch beneath, are the three Evangelical Virtues. Without these, says Florence, you can have no science. Without Love, Faith, and Hope—no intelligence.