Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 1.djvu/234

was burnt. Over the principal door of the same church this master executed another fresco, representing the descent of the Holy Spirit; and on the piazza, in front of the building, he painted the tabernacle still to be seen there at the corner of the convent going towards the Via della Cuculia. The subject of this last-named work is Our Lady surrounded by numerous saints. The heads and other portions approach closely to the modern manner; the artist obviously sought to vary and improve the carnations; he has imparted considerable grace to all the figures,^[1] and has evinced great judgment in the draperies also, whether as to form or colour. Giottino likewise worked in Santa Croce, where he painted the history of Constantine in the chapel of San Silvestro, a work of great merit, more especially as regards the attitudes and gestures of the figures, which are most beautiful. Behind a marble ornament, constructed to adorn the tomb of Messer Bettino de’ Bardi, a military commander of much distinction at that time, Tommaso painted this nobleman after the life; he is pourtrayed kneeling, and about to issue from a tomb, whence he has been summoned by the trumpets of the Last Judgment, which are sounded by two angels, who are seen with Christ himself in the air, all admirably well done.^[2] The same artist executed a picture of Christ bearing his Cross, with numerous saints about him, for the church of San Pancrazio; this work is near the entrance to the south aisle, and the figures are precisely in the manner of Giotto.^[3] He also painted a Dead Christ (Pieta) in fresco, for the convent of San Gallo, which was destroyed during the siege; the fresco was in a cloister, and there is a copy of it in the church of San Pancrazio, above-named, on a column beside the Lady chapel. Giottino likewise painted a fresco in Santa Maria Novella, in the chapel of San Lorenzo de’ Giuochi, which is near the door of the south aisle; the subject is the history of San Cosimo and San Damiano,^[4] and the

1. The Descent of the Holy Spirit was afterwards whitewashed. The tabernacle was first repainted, and, at a later period, was demolished.
2. These works still exist, in tolerable preservation. Vasari does not mention the beautiful Deposition from the Cross, which is beside the monument of Bettino; but which is certainly a work by the same artist.— Ed. Flor. 1846.
3. This picture has perished.
4. No vestige of this work remains.