But the last Florentine edition of Vasari renders this opinion doubtful.
[131] Ed una donna involta in veste negra, Con un furor qual io non so se mai Al tempo de' giganti fosse a Flegra.
_Trionfo della Morte_, cap.i.

31.
[132] On a scroll above these wretches is written this legend:-- Dacche prosperitade ci ha lasciati, O morte, medicina d'ogni pena, Deh vieni a darne omai l'ultima cena.
[133] This might be used as an argument against the Lorenzetti hypothesis; for their work at Siena is eminently beautiful.
[134] The attitude and the eyes of this archangel have an imaginative potency beyond that of any other motive used by any painter to suggest the terror of the _Dies Irae_.

Simplicity and truth of vision in the artist have here touched the very summit of intense dramatic presentation.
[135] The "Triumph of S.Thomas Aquinas," in this cloister-chapel, has long been declared the work of Taddeo Gaddi.

"The Triumph of the Church Militant," and the "Consecration of S.Dominic," used to be ascribed, on the faith of Vasari, to Simone Martini of Siena.

Independently of its main subject, this vast wall-painting is specially interesting on account of its portraits.