Of the frescoes these alone were perfect, but fragments of others were
scattered over the wall, and in particular I must mention a group of
detached human limbs lying near the ship--a group rendered conspicuous
by an isolated right hand and arm drawn on a larger scale than the rest.
A gilded circlet adorned the arm, which was flexed at the elbow, the
hand horizontally placed, the forefinger extended towards the west in
the direction of the picture of the Crucifixion, and the thumb shut
within the palm beneath the other three fingers.
So much for the frescoes. A thin coat of plaster had been laid over
them to receive the second series, which consisted of the most
disgusting and fantastic images, traced in black. One of these drawings
represented Satan himself--an erect figure, with hairy paws clasped in a
supplicating posture, thick black horns, and eyes which (for additional
horror) the artist had painted red and edged with a circle of white.
At his feet crawled the hindmost limb of a peculiarly loathsome monster
with claws stuck in the soil. Close by a nun was figured, sitting in a
pensive attitude, her cheek resting on the back of her hand, her elbow
supported by a hideous dwarf, and at some distance a small house, or
prison, with barred windows and a small doorway crossed with heavy
bolts.
As I said, this upper series had been but partially scraped away, and as
my guest and I stood at a little distance, I leave you to imagine, if
you can, the incongruous tableau; the Prince of Darkness almost touching
the mourners beside the cross; the sorrowful nun and grinning dwarf side
by side with a ship in full sail, which again seemed to be forcing her
way into a square and forbidding prison, etc.
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