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Updated: June 8, 2025
Taddeo Gaddi, Angelico, Ghirlandajo, Perugino, all followed this traditional conception of the subject, except that they omit the altar, and place the locality in the open air, or under a portico.
If Arnolfo di Cambio is the architect not only of the Duomo but of the Palazzo Vecchio, and if Orcagna conceived the delicate beauty of the Loggia de' Lanzi, it is, if we may believe Vasari, partly to Arnolfo and partly to Agnolo Gaddi that we owe Bargello, that palace so like a fortress, at the corner of Via del Proconsolo and Via Ghibellina. Begun in the middle of the thirteenth century for the Capitano del Popolo, it later became the Palace of the Podest
In the few hours which had elapsed since the ghastly discovery, the brocades and kincob of the audience-tents had been torn down and distributed, the cushions deprived of their rich covers, and the very gaddi on which the Rajah's body had been found stripped of its damask. Even the carpets were gone from the floors, and the cotton ground-cloths torn in every direction.
Sher Singh turned to the rest, his face convulsed with fury. "You hear this low-born one, how he denies me my natural rights, and would deprive my father of the customary honours? Am not I rightfully regent during my brother's minority? If I advance no claim to the gaddi, do you think that I am to be set aside altogether? Let this man Jirad know that I have the promise of Antni Sahib's support."
Thus having committed the care of the perfumes and the fire to my friend Vincenzio, who was assisted by Gaddi, he put into my hands a pintacolo, or magical chart, and bid me turn it towards the places to which he should direct me; and under the pintacolo I held my apprentice.
Andrea Orcagna was born about 1308. He was a man of almost universal genius, but his altarpiece in S. Maria Novella is nearly all that remains to us of his painting, and splendid though it be, has been perhaps spoiled by a later hand than his. In the Accademia here there is a Vision of St. Bernard (No. 138), faint, it is true, but still soft and charming in colour, while in the Uffizi there is in the corridor an altarpiece with St. Matthew in the midst that is certainly partially his own. Nothing at all remains to us of the work of Starnina, the master of Masolino, and thus we lose the link which should connect the art of Giotto and the Giottesques with the art of Masolino and Angelico. It was about the same time as Starnina was painting in the chapel of S. Girolamo at the Carmine that Lorenzo Monaco was working in the manner of Agnolo Gaddi. His work is beautiful by reason of its delicacy and gentleness, but it is so completely in the old manner that Vasari gives his altarpiece of the Annunciation now here in the Accademia (No. 143) to Giotto, praising that master for the tremulous sweetness of Madonna as she shrinks before the Announcing Angel just about to alight from heaven. It is a very different scene you come upon in his altarpiece in S. Trinit
In the predella, Vision of Pope Innocent III.; Papal Confirmation of the Rule; The Saint preaching to the Birds each scene portrayed with all the sweet simplicity of a chapter in the Fioretti. Below 1260 is a predella, 1302, by Taddeo Gaddi: Death of the Baptist; the Crucifixion; Martyrdom of the Saint.
Of the tribe of Simeon, Shaphat the son of Hori. Of the tribe of Judah, Caleb the son of Jephunneh. Of the tribe of Issachar, Igal the son of Joseph. Of the tribe of Ephraim, Oshea the son of Nun. Of the tribe of Benjamin, Palti the son of Raphu. Of the tribe of Zebulun, Gaddiel the son of Sodi. Of the tribe of Joseph, namely, of the tribe of Manasseh, Gaddi the son of Susi.
The presentation of the Virgin remains unaltered in main sentiment and significance of composition, despite the two centuries and more which separate the Gaddi from Titian and Tintoret, despite the complete change in artistic aims and methods separating still more completely the men of the fourteenth century from the men of the sixteenth.
Gaddi builded so well that when, two hundred and more years later, another flood severely damaged three other bridges, the Ponte Vecchio was unharmed. None the less it is not Gaddi's bust but Cellini's that has the post of honour in the centre; but this is, of course, because Cellini was a goldsmith, and it is to goldsmiths that the shops belong. Once it was the butchers' quarter!
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