is
very fair, and in three of the compositions an excellent effect is
produced by the introduction of the same background with varied
_dramatis personae_, reminding one of Retszch's illustrations of Faust.
The animals too are always excellent, full of spirit and
character."--Vol. ii., pp. 183-199.

64. This last characteristic is especially to be noticed. It is a
touching proof of the influence of early years. Giotto was only ten
years old when he was taken from following the sheep. For the rest, as
we have above stated, the manipulation of these frescoes is just as far
inferior to that of the Podesta chapel as their dimensions are less; and
we think it will be found generally that the smaller the work the more
rude is Giotto's hand. In this respect he seems to differ from all other
masters.

* * *

"It is not difficult, gazing on these silent but eloquent walls, to
repeople them with the group once, as we know-five hundred years
ago--assembled within them,--Giotto intent upon his work, his wife Ciuta
admiring his progress, and Dante, with abstracted eye, alternately
conversing with his friend and watching the gambols of the children
playing on the grass before the door. It is generally affirmed that
Dante, during this visit, inspired Giotto with his taste for allegory,
and that the Virtues and Vices of the Arena were the first fruits of
their intercourse; it is possible, certainly, but I doubt it,--allegory
was the universal language of the time, as we have seen in the history
of the Pisan school."--Vol. ii., pp. 199, 200.

* * *

It ought to have been further mentioned, that the representation of the
Virtues and Vices under these Giottesque figures continued long
afterwards. We find them copied, for instance, on the capitals of the
Ducal Palace at Venice, with an amusing variation on the "Stultitia,"
who has neither Indian dress nor club, as with Giotto, but is to the
Venetians sufficiently distinguished by riding a horse.

65. The notice of the frescoes at Assisi consists of little more than an
enumeration of the subjects, accompanied by agreeable translations of
the traditions respecting St. Francis, embodied by St. Buonaventura. Nor
have we space to follow the author through his examination of Giotto's
works at Naples and Avignon. The following account of the erection of
the Campanile of Florence is too interesting to be omitted:---

* * *

"Giotto