everything, is dissolved, the side or cupola of a church becomes a rent in the clouds, streaming with light.

Not so with the Giottesque frescoes: the wall, the vault, the triumphant masonry is always present and felt, beneath the straight, flat bands of uniform colour; the symmetrical compartments, the pentacles,triangles, and segments, and borders of histories, whose figures never project, whose colours are separate as those in a mosaic. The Giottesque frescoes, with their tiers and compartments of dark blue, their vague figures dressed in simple ultramarines, greens, dull reds, and purples; their geometrical borders and pearlings and dog-tooths; cover the walls, the ribbed and arched ceilings, the pointed raftering almost like some beautiful brown, blue, and tarnished gold leather-hangings; the figures, outlined in dark paint, have almost the appearance of being stencilled, or even stamped on the wall. Such is Giottesque painting: an art which is not merely essentially decorative, but which is, moreover, what painting and sculpture remained throughout the Gothic period, subservient to the decorative effect of another art; an art in which all is subordinated to architectural effect, in which form, colour, figures, houses, the most dramatic scenes of the most awful of all dramas, everything is turned into a kind of colossal and sublime wall-paper; and such an art as this would lead us to expect but little realism, little deliberate and slavish imitation of the existing. Yet wherever there is life in this Gothic art (which has a horrible tendency, piously unobserved by critics, to stagnate into blundering repetition of the same thing), wherever there is progress, there is, in the details of that grandiose, idealistic decoration, realism of the crudest kind. Those Giottesque workers, who were not content with a kind of Gothic Byzantinism; those who really handed over something vital to their successors of the fifteenth century, while repeating the old idealistical decorations; were studying with extraordinary crudeness of realism. Everything that was not conventional ornament or type was portrait; and portrait in which the scanty technical means of the artist, every meagre line and thin dab of colour, every timid stroke of brush or of pencil, went towards the merciless delineation not merely of a body but of a soul. And the greater the artist, the more cruel the portrait: cruellest in representation of utter spiritual baseness in the two greatest of these idealistic decorators; Giotto, and his latest disciple, Fra Angelico. Of this I should like to give a couple of examples.

In Giotto's frescoes at Santa Croce—one of the most lovely pieces of mere architectural decoration conceivable—there are around the dying and the dead St. Francis two groups of monks, which are astoundingly realistic. The solemn ending of the ideally beautiful life of sanctity which was so fresh in the memory of Giotto's contemporaries, is nothing beyond a set of portraits of the most absolutely mediocre creatures, moral and intellectual, of creatures the most utterly incapable of religious enthusiasm that ever made religion a livelihood. They gather round the dying and the dead St. Francis, a noble figure, not at all ecstatic or seraphic, but pure, strong, worn out with wise and righteous labour, a man of thought and action, upon whose hands and feet the stigmata of supernatural rapture are a mere absurdity. The monks are presumably his immediate disciples, those fervent and delicate poetic natures of whom we read in the "Fioretti di San Francesco." To represent them Giotto has painted the likeness of the first half-dozen friars he may have met in the streets near Santa Croce: not caricatures, nor ideals, but portraits Giotto has attempted neither to exalt nor to degrade them into any sort of bodily or spiritual interestingness. They are not low nor bestial nor extremely stupid. They are in various degrees dull, sly, routinist, prosaic, pedantic; their most noteworthy characteristic is that they are certainly the men who are not called by God. They are no scandal to the Church, but no honour; they are sloth, stupidity, sensualism, and cunning not yet risen to the dignity of a vice. They look upon the dying and the dead saint with indifference, want of understanding, at most a gape or a bright look of stupid miscomprehension at the stigmata: they do not even perceive that a saint is a different being from themselves. With these frescoes of Giotto I should wish to compare Fra Angelico's great ceremonial crucifixion in the cloister chapel of San Marco of Florence; for it displays to an extraordinary degree that juxtaposition of the most conventionally idealistic, pious decorativeness with the realism straightforward, unreflecting, and heartless to the point of becoming perfectly grotesque. The fresco is divided into two scenes: on the one side the crucifixion, the mystic actors of the drama, on the other the holy men admitted to its contemplation. A sense that holy things ought to be old-fashioned, a respect for Byzantine inanity which invariable haunted the Giottesques in their capacity of idealistic decorators, of men who replaced with frescoes the solemn lifeless splendours of mosaic; this kind of artistico-religious prudery has made Angelico, who was able to foreshorten powerfully the brawny crucified thieves, represent the Saviour dangling from the cross bleached,boneless, and shapeless, a thing that is not dead because it has never been alive. The holy persons around stand rigid, vacant, against their blue nowhere of background, with vague expanses of pink face looking neither one way nor the other; mere modernized copies of the strange, goggle-eyed, vapid beings on the old Italian mosaics. This is not a representation of the actual reality of the crucifixion, like Tintoret's superb picture at S. Rocco, or Dürer's print, or so many others, which show the hill, the people, the hangman, the ladders and ropes and hammers and tweezers: it is a sort of mystic repetition of it; subjective, if I may say so; existing only in the contemplation of the saints on the opposite side, who are spectators only in the sense that a contemplative Christian may be said to be the mystic spectator of the Passion. The thing for the painter to represent is fervent contemplation, ecstatic realization of the past by the force of ardent love and belief; the condition of mind of St. Francis, St. Catherine of Siena, Madame Guyon: it is the revelation of the great tragedy of heaven to the soul of the mystic. Now, how does Fra Angelico represent this? A row of saints, founders of orders, kneel one behind the other, and by their side stand apostles and doctors of the Church; admitting them to the sight of the super-human, with the gesture, the bland, indifferent vacuity of the Cameriere Segreto or Monsignore who introduces a troop of pilgrims to the Pope; they are privileged persons, they respect, they keep up decorum, they raise their eyes and compress their lips with ceremonious reverence; but, Lord! they have gone through it all so often, they are so familiar with it, they don't look at it any longer; they gaze about listlessly, they would yawn if they were not too well bred for that. The others, meanwhile, the sainted pilgrims, the men whose journey over the sharp stones and among the pricking brambles of life's wilderness finds its final reward in this admission into the presence of the Holiest, kneel one by one, with various expressions: one with the stupid delight of a religious sightseer; his vanity is satisfied, he will next draw a rosary from his pocket and get it blessed by Christ Himself; he will recount it all to his friends at home. Another is dull and gaping, a clown who has walked barefoot from Valencia to Rome, and got imbecile by the way; yet another, prim and dapper; the rest indifferent looking restlessly about them, at each other, at their feet and hands, perhaps exchanging mute remarks about the length of time they are kept waiting; those at the end of the kneeling procession, St. Peter Martyr and St. Giovanni Gualberto especially, have the bored,