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Updated: May 24, 2025
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.
This might easily lead to the impression that Taddeo's teaching was unscientific, or merely empiric, or that he himself was a narrow-minded maker of money, intent only on his immediate influence, and hampered by exclusive devotion to practical medicine. Nothing could be farther from the truth than any such impression.
In either case, but particularly perhaps in Taddeo's picture, the answer to Christ's question, which Leonardo at Milan makes so dramatic, is a foregone conclusion. All the gates of Florence had religious frescoes in them, some of which still remain. The great bronze bishop is said to be by Donatello and to have been meant for Or San Michele; but one does not much mind.
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 that at your leisure, afterwards, if you like.
The city council could scarcely do less than grant the same privileges to the medical students and teachers of Taddeo's school as they had previously accorded to the faculty of law and its students.
But when Giotto, being long dead, other and newer painters arose, Taddeo's work, out of fashion at last, suffered the oblivion of whitewash, sharing this fate with some of the best work in Italy: so that there is to-day but little left of it in S. Croce save these frescoes, where he has painted, not without a certain vigour and almost a gift for composition, the story of the Blessed Virgin.
Here in S. Croce, a church in which Giotto himself had worked, we find Taddeo's work everywhere: over the door of the Sacristy he painted Christ and the Doctors; in the Cappella di S. Andrea, the stories of St. Peter and St. Andrew; in the Bellaci chapel, too, and above all in this the chapel of the Baroncelli family.
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