f its virtue is in the chiseling."

(9) P. 136. "_S. Donato's shrine_" (by Giovanni Picano) "_in Arezzo
Cathedral is one of the finest monuments of the Pisan school._"
"No. He tried to be too fine, and overdid it. The work is merely
accumulated commonplace."

(10) P. 170. On Giotto drawing without compasses a circle with a
crayon, "_not a brush, with which, as Professor Ruskin explained,
the feat would have been impossible. See 'Giotto and his Works in
Padua.'_" "Don't; but practice with a camel's-hair brush till you
can do it. I knew nothing of brush-work proper when I wrote that
essay on Padua."

(11) P. 179. In the first of the bas-reliefs of Giotto's tower at
Florence, "_Noah lies asleep, or, as Professor Ruskin maintains,
drunk._" "I don't 'maintain' anything of the sort; I _know_ it. He
is as drunk as a man can be, and the expression of drunkenness
given with deliberate and intense skill, as on the angle of the
Ducal Palace at Venice."

(12) P. 179. On Giotto's "_astronomy, figured by an old man_" on
the same tower. "Above which are seen, by the astronomy of his
heart, the heavenly host represented above the stars."

(13) P. 190. "_The Loggia dei Langi_" (at Florence) ... "_the round
arches, new to those times ... See Vasari._" "Vasari is an ass with
precious things in his panniers; but you must not ask his opinion
on any matter. The round arches new to those times had been the
universal structure form in all Italy, Roman or Lombard, feebly and
reluctantly pointed in the thirteenth century, and occasionally, as
in the Campo Santo of Pisa, and Orcagna's own Or San Michele,
standing within three hundred yards of the Loggia arches 'new to
those times,' filled with tracery, itself composed of intersecting
round arches. Now, it does not matter two soldi to the history of
art who _built_, but who designed and carved the Loggia. It is out
and out the grandest in Italy, and its archaic virtues themselves
are impracticable and inconceivable. I don't vouch for its being
Orcagna's, nor do I vouch for the Campo Santo frescoes being his. I
have never specially studied him; nor do I know what men of might
there were to work with or after him. But I know the Loggia to be
mighty architecture of Orcagna's style and time, and the Last
Judgment a