the Spanish Chapel are painted by the same hand.

Again: of the two brothers Memmi, one or other, I don't know or care
which, had an ugly way of turning the eyes of his figures up and their
mouths down; of which you may see an entirely disgusting example in the
four saints attributed to Filippo Memmi on the cross wall of the north
(called always in Murray's guide the south, because he didn't notice
the way the church was built) transept of Assisi. You may, however,
also see the way the mouth goes down in the much repainted, but still
characteristic No. 9 in the Uffizii. [Footnote: This picture bears the
inscription (I quote from the French catalogue, not having verified it
myself), "Simon Martini, et Lippus Memmi de Senis me pinxerunt." I have
no doubt whatever, myself, that the two brothers worked together on
these frescoes of the Spanish Chapel: but that most of the Limbo is
Philip's, and the Paradise, scarcely with his interference, Simon's.]

Now I catch the wring and verjuice of this brother again and again,
among the minor heads of the lower frescoes in this Spanish Chapel. The
head of the Queen beneath Noah, in the Limbo,--(see below) is
unmistakable.

Farther: one of the two brothers, I don't care which, had a way of
painting leaves; of which you may see a notable example in the rod in
the hand of Gabriel in that same picture of the Annunciation in the
Uffizii. No Florentine painter, or any other, ever painted leaves as
well as that, till you get down to Sandro Botticelli, who did them much
better. But the man who painted that rod in the hand of Gabriel,
painted the rod in the right hand of Logic in the Spanish Chapel,--and
nobody else in Florence, or the world, _could_.