ions, in common with those of other
buildings of the time, from the number of sides of its apse. Without
entering into these particulars, it may be noted that the apse is just
one-half the width of the body of the chapel, and that the length from
the extremity of the tribune to the west end is just seven times the
width of the apse. The whole of the body of the chapel was painted by
Giotto; the walls and roof being entirely covered either with his
figure-designs, or with various subordinate decorations connecting and
enclosing them.

The woodcut on p. 27 represents the arrangement of the frescoes on the
sides, extremities, and roof of the chapel. The spectator is supposed
to be looking from the western entrance towards the tribune, having on
his right the south side, which is pierced by six tall windows, and on
which the frescoes are therefore reduced in number. The north side is
pierced by no windows, and on it therefore the frescoes are
continuous, lighted from the south windows. The several spaces
numbered 1 to 38 are occupied by a continuous series of subjects,
representing the life of the Virgin and of Christ; the narrow panels
below, marked _a_, _b_, _c_, &c., are filled by figures of the
cardinal virtues and their opponent vices: on the lunette above the
tribune is painted a Christ in glory, and at the western extremity the
Last Judgment. Thus the walls of the chapel are covered with a
continuous meditative poem on the mystery of the Incarnation, the acts
of Redemption, the vices and virtues of mankind as proceeding from
their scorn or acceptance of that Redemption, and their final
judgment.

The first twelve pictures of the series are exclusively devoted to the
apocryphal history of the birth and life of the Virgin. This the
Protestant spectator will observe, perhaps, with little favour, more
especially as only two compartments are given to the ministry of
Christ, between his Baptism and Entry into Jerusalem. Due weight is,
however, to be allowed to Lord Lindsay's remark, that the legendary
history of the Virgin was of peculiar importance in this chapel, as
especially dedicated to her service; and I think also that Giotto
desired to unite the series of compositions in one continuous action,
feeling that to have enlarged on the separate miracles of Christ's
ministry would have interrupted the onward course of thought. As it
is, the mind is led from the first humiliation of Joachim to the
Ascension of Christ in