caricature, as is especially plain in such pictures as 'The Entombment' in the Arena Chapel. But in all his scenes Giotto has succeeded, not only in choosing the most appropriate figures for illustrating his meaning, but in seizing the very moment which is most significant.

But, after all, the main characteristic of Giotto's style is so intangible that it can only be felt, not described. This characteristic is the simple faith in which each of these compositions abounds; the feeling conveyed to the spectator that thus, and not otherwise, did the occurrence take place, and that the painter has not altered it a jot or tittle for his own purpose.

The Works of Giotto

DESCRIPTIONS OF THE PLATES

PLATE I — 'MADONNA ENTHRONED'

This panel-picture, an early work, was painted for the Church of Ognissanti, Florence, and is now in the Academy of that city. Notwithstanding the fact that Giotto has adhered to the conventional composition of the Byzantine masters, there is a freshness and more lifelike appearance in this work than is observable in those of his predecessors; and in the more natural attitudes of the figures—notably in the kneeling angels—as well as in the greater freedom in the treatment of the draperies, we see the advance that he has already made in the development of art.

The Madonna, clad in a white robe and long bluish mantle, and holding the Child, whose tunic is of a pale rose color, upon her knee, is seated upon a throne placed against a gold background. The angels kneeling in front with vases of lilies in their hands are robed in white; those just above them, bearing a crown and box of ointment, are in green. Saints and angels are grouped on either side.

The color of the picture has darkened and lost much of its original freshness, and shows little of the purity of tint seen in many of Giotto's frescos.

PLATE II — 'ALLEGORY OF POVERTY'

Among Giotto's most famous works are the four frescos which cover the arched compartments of the vaulting of the Lower Church of St. Francis at Assisi. One represents the saint enthroned in glory; the others are allegorical depictions of the three vows of the Franciscan Order,—Poverty, Chastity, and Obedience. The finest of the series is that reproduced in this plate, in which Giotto has represented the mystic marriage of St. Francis with Poverty. Hope and Love are the bridesmaids, angels are the witnesses, and Christ himself blesses the union. The bride's garments are patched, ragged and torn by brambles, children throw stones at her and mock her, and a dog barks at her; but the roses and lilies of paradise bloom about her, and St. Francis looks with love upon his chosen bride. To the left a young man gives his cloak to a beggar; on the opposite side a miser grasps his money-bag, and a richly clad youth scornfully rejects the invitation of the angel at his side to follow in the train of holy Poverty. Above, two angels, one bearing a garment and a bag of gold, the other a miniature palace—symbolical of worldly goods given up in charity—are received by the hands of the Almighty.

PLATE III — 'ALLEGORY OF CHASTITY'

This fresco, in the Lower Church of St. Francis at Assisi, is one of the series to which that reproduced in the previous Plate also belongs. It represents the different stages of perfection in the religious life. On the left St. Francis receives three aspirants to the Franciscan Order; on the right three monks are driving evil spirits into the abyss below; and in the central group angels pour purifying water upon the head of a youth standing naked in a baptismal font. Two figures leaning over the wall behind present him with the banner of purity and shield of fortitude, and two angels standing near bear the convert's garments. The mail-clad warriors, holding lash and shield, are emblematic of the warfare and self-mortification of those who follow St. Francis. In the tower of the crenelated fortress in the background is seated Chastity, veiled and in prayer, to whom two angels bring an open book and the palm of holiness.

PLATES IV, V, AND VI — 'NATIVITY,' 'ENTOMBMENT,' AND 'RESURRECTION'

The Arena Chapel, Padua, was built in the year 1303 by Enrico Scrovegno, a wealthy citizen of that place, upon the site of a Roman amphitheater or arena. The outside of this little building is devoid of all architectural embellishment, but any exterior bareness is more than counterbalanced by the interior, the decoration of which was, in 1305 or 1306, intrusted to Giotto, at that time the acknowledged master of painting in Italy. With the exception of the frescos in the choir, which were added by his followers in later years, all the paintings in the chapel—thirty-eight in number—are by his hand, and present a scheme of decoration that is unsurpassed even in the churches of Italy. "Though they lack the subtleties of later technical development," write Vasari's recent editors, "these frescos of the Arena Chapel, in their composition, their simplicity, their effectiveness as pure decoration, and in their dramatic force, are some of the finest things in the whole history of art, ancient or modern."

Arranged in three tiers on the side walls of the chapel, Giotto's frescos illustrate the apocryphal history of Joachim and Anna, the life of the Virgin, scenes from the life of Christ, and below, allegorical figures of the Virtues and Vices. On the entrance wall is a 'Last Judgment,' and opposite, a 'Christ in Glory.' The vaulted ceiling, colored blue and studded with gold stars, is adorned with medallions of Christ and the Virgin, saints and prophets. "Wherever the eye turns," writes Mr. Quilter, "it meets a bewilderment of color pure and radiant and yet restful to the eye, tints which resemble in their perfect harmony of brightness the iridescence of a shell. The whole interior, owing perhaps to its perfect simplicity of form and absence of all other decoration than the frescos, presents less the aspect of a building decorated with paintings than that of some gigantic opal in the midst of which the spectator stands."

'The Nativity,' reproduced in Plate IV, is the first of the second tier of frescos. It is painted almost wholly in a quiet harmony of blue and gray. Ruskin has called attention to the natural manner in which the Virgin turns upon her couch to assist in laying down the Child brought to her by an attendant, and to the figure of St. Joseph seated below in meditation. On the right are the shepherds, their flocks beside them, listening to the angels who, "all exulting, and as it were confused with joy, flutter and circle in the air like birds." On the left the ox and ass stretch their heads towards the Virgin's couch.

'The Entombment,' Plate V, is impressive in its passionate intensity. The women seated on the ground supporting the dead Christ are overwhelmed with grief, other mourners are grouped around; and in the figure of St. John with his arms extended Giotto has preserved the antique gesture of sorrow. Angels wheel and circle through the air in a frenzied agony of grief. In the background a barren hill and the leafless branches of a tree are relieved against a darkening sky.

'The Resurrection,' Plate VI, shows us the soldiers in deep sleep beside the red porphyry tomb on which two majestic, white-robed angels are seated. Mary Magdalene, in a long crimson cloak, kneels with outstretched arms at the feet of the risen Christ, who by his expressive gesture warns her, "Noli me tangere!"

This fresco and that of 'The Resurrection' are among the most impressive in the chapel, and are comparatively little injured by time and dampness.

PLATE VII — 'THE DEATH OF ST. FRANCIS'

The last in the series of