Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 1.djvu/199

follows towards the church, he represented the Brethren of the Dominican order contending against the heretics,^[1] whom Simon has described under the form of wolves assaulting a dock of sheep, which is defended by numerous dogs, spotted with black and white; by these dogs the wolves are repulsed and slain. There are besides other heretics, who having been convinced in disputation with the faithful, confess their errors, and tear their books. The souls of these pass the gates of Paradise, within which are seen many small figures, employed in various occupations. In heaven, the glory of the Saints and of Jesus Christ is given to view, while all mundane pleasures and vain delights remain in the world below, being represented by human forms, but especially by those of women seated. Among these is Madonna Laura, the lady of Petrarch, taken from life; she is clothed in green, with a little flame of fire between her throat and breast.^[2] In this work, Simon also depicted the Church of Christ, guarded by the pope, the emperor, kings, cardinals, bishops, and all Christian princes, among whom is Messer Francesco Petrarca, beside a knight of Rhodes, and also drawn from the life. This portrait Simon added, to enhance by his works the fame of the writer who had made his own name immortal. The Universal Church is represented by that of Santa Maria del Fiore, not as it is in the present day, but as Simon had drawn it from the model and design which the architect Arnolfo had left to be the guide of those who were to continue the work after him, but which models having been lost, as we have said before,^[3] by the carelessness of the intendents of Santa Maria del Fiore, we should now retain no memorial of that fabric, if Simon had not left it thus pourtrayed in this work. On the third wall, which is that where the altar stands, the artist represented the Crucifixion of Christ, who is first seen issuing from the city of Jerusalem bearing his Cross, and followed by a vast crowd of people. He proceeds to Mount Calvary, where, having arrived, he is seen raised on the Cross between the two thieves, with the different circumstances which form the usual accompaniment of this

1. These paintings are still well preserved. For the question of their being really by Simon Memmi, see Rumohr, Ital. Forsch. ii, p. 96.
2. Lanzi denies that this picture represents Laura. See vol. i, p. 274.
3. See the life of Arnolfo di Lapo, ante, p. 60.