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