The work has a decidedly Sienese character; but recent critics are inclined to assign it to a certain Andrea, of Florence.

See Crowe and Cavalcaselle, vol.ii.p.

89.

The same critics doubt the hand of Taddeo Gaddi in the "Triumph of S.Thomas," vol.i.p.

374, and remark that "these productions of the art of the fourteenth century are, indeed, second-class works, executed by pupils of the Sienese and Florentine school, and unworthy of the high praise which has ever been given to them." Whatever may be ultimately thought about the question of their authorship and pictorial merit, their interest to the student of Italian painting in relation to mediaeval thought will always remain indisputable.
Few buildings in the length and breadth of Italy possess such claims on our attention as the Cappella degli Spagnuoli.
[136] The amorous fere of the Christian faith, the holy athlete, gentle to his own, and to his foes cruel.
[137] Everything outside this golden region is studded with stars to signify an epoyranios topos or heaven of heavens.