on no painter's skill, but on your own understanding. Just above Eve is
Abel, bearing the lamb: and behind him, Noah, between his wife and Shem:
behind them, Abraham, between Isaac and Ishmael; (turning from Ishmael to
Isaac), behind these, Moses, between Aaron and David. I have not identified
the others, though I find the white-bearded figure behind Eve called
Methuselah in my notes: I know not on what authority. Looking up from these
groups, however, to the roof painting, you will at once feel the imperfect
grouping and ruder features of all the figures; and the greater depth of
colour. We will dismiss these comparatively inferior paintings at once.

The roof and walls must be read together, each segment of the roof
forming an introduction to, or portion of, the subject on the wall
below. But the roof must first be looked at alone, as the work of
Taddeo Gaddi, for the artistic qualities and failures of it.

I. In front, as you enter, is the compartment with the subject of the
Resurrection. It is the traditional Byzantine composition: the guards
sleeping, and the two angels in white saying to the women, "He is not
here," while Christ is seen rising with the flag of the Cross.

But it would be difficult to find another example of the subject, so
coldly treated--so entirely without passion or action. The faces are
expressionless; the gestures powerless. Evidently the painter is not
making the slightest effort to conceive what really happened, but
merely repeating and spoiling what he could remember of old design, or
himself supply of commonplace for immediate need. The "Noli me
tangere," on the right, is spoiled from Giotto, and others before him;
a peacock, woefully plumeless and colourless, a fountain, an ill drawn
toy-horse, and two toy-children gathering flowers, are emaciate remains
of Greek symbols. He has taken pains with the vegetation, but in vain.