DOI Page / Citation link:
https://doi.org/10.11588/diglit.61542#0081
1430] AGNOLO GADDI’S FRESCOES 55
in the Lower Church, formerly ascribed to this master,
belong to an earlier period, between 1300 and 1310,
and were probably, as Mr. Berenson suggests, painted
by the unknown assistant who completed Giotto’s
series in the Upper Church. Giottino’s work at
Assisi was interrupted by illness, brought on, we
are told, by neglect of his health and excessive
devotion to his art, and he came back to Florence,
where he died soon afterwards, to the grief of his
contemporaries, who felt that in him they had lost a
truly great master. He was buried by his parents
outside the walls of Santa Maria Novella, and Latin
epitaphs lamenting his short life and rare promise
were written in his honour.
A third artist who painted in Santa Croce during
the latter half of the fourteenth century, was Agnolo
Gaddi, the son of Taddeo. His first work of import-
ance, the frescoes on the legend of the True Cross,
which he painted for the Alberti family in the choir of
Santa Croce, show a close following of the Giottesque
tradition, modified by Sienese influences, and the
example of Giovanni da Milano. The type of face
with the long nose and heavy chin is still the same
as in Taddeo’s works, but there is more charm of
feature and colouring, and some of the heads, such
as St. Helena, with her braided hair and quaint coif,
are distinctly attractive. The story of the Finding of
the True Cross by the Empress, and of the miracles
worked by the sacred relic, as recorded in the Golden
Legend, is told with a variety of picturesque incident;
and the third fresco, in which the vision appears to
Heraclius in his sleep, and he is seen on horseback
charging the hosts of Chosroes, evidently supplied
in the Lower Church, formerly ascribed to this master,
belong to an earlier period, between 1300 and 1310,
and were probably, as Mr. Berenson suggests, painted
by the unknown assistant who completed Giotto’s
series in the Upper Church. Giottino’s work at
Assisi was interrupted by illness, brought on, we
are told, by neglect of his health and excessive
devotion to his art, and he came back to Florence,
where he died soon afterwards, to the grief of his
contemporaries, who felt that in him they had lost a
truly great master. He was buried by his parents
outside the walls of Santa Maria Novella, and Latin
epitaphs lamenting his short life and rare promise
were written in his honour.
A third artist who painted in Santa Croce during
the latter half of the fourteenth century, was Agnolo
Gaddi, the son of Taddeo. His first work of import-
ance, the frescoes on the legend of the True Cross,
which he painted for the Alberti family in the choir of
Santa Croce, show a close following of the Giottesque
tradition, modified by Sienese influences, and the
example of Giovanni da Milano. The type of face
with the long nose and heavy chin is still the same
as in Taddeo’s works, but there is more charm of
feature and colouring, and some of the heads, such
as St. Helena, with her braided hair and quaint coif,
are distinctly attractive. The story of the Finding of
the True Cross by the Empress, and of the miracles
worked by the sacred relic, as recorded in the Golden
Legend, is told with a variety of picturesque incident;
and the third fresco, in which the vision appears to
Heraclius in his sleep, and he is seen on horseback
charging the hosts of Chosroes, evidently supplied