ones, nasty green and yellow tones come out, which prevent the effect
of the whole from being very pleasant. These characteristics belong, on
the whole, to the school of Siena; and they indicate here the work
_assuredly_ of a man of vast power and most refined education,
whom I shall call without further discussion, during the rest of this
and the following morning's study, Simon Memmi.

And of the grace and subtlety with which he joined his work to that of
the Gaddis, you may judge at once by comparing the Christ standing on
the fallen gate of the Limbo, with the Christ in the Resurrection
above. Memmi has retained the dress and imitated the general effect of
the figure in the roof so faithfully that you suspect no difference of
mastership--nay, he has even raised the foot in the same awkward way:
but you will find Memmi's foot delicately drawn-Taddeo's, hard and
rude: and all the folds of Memmi's drapery cast with unbroken grace and
complete gradations of shade, while Taddeo's are rigid and meagre; also
in the heads, generally Taddeo's type of face is square in feature,
with massive and inelegant clusters or volutes of hair and beard; but
Memmi's delicate and long in feature, with much divided and flowing
hair, often arranged with exquisite precision, as in the finest Greek
coins. Examine successively in this respect only the heads of Adam,
Abel, Methuselah, and Abraham, in the Limbo, and you will not confuse
the two designers any more. I have not had time to make out more than
the principal figures in the Limbo, of which indeed the entire dramatic
power is centred in the Adam and Eve. The latter dressed as a nun, in her
fixed gaze on Christ, with her hands clasped, is of extreme beauty: and
however feeble the work of any early painter may be, in its decent and
grave inoffensiveness it guides the imagination unerringly to a certain
point. How far you are yourself capable of filling up what is left untold
and conceiving, as a reality, Eve's first look on this her child, depends