acter. The faces introduced into some of his
compositions bear an inward guarantee of their lively resemblance to
some living model, and this characteristic seems to have been eagerly
seized upon by his immediate followers for emulation, as is noticeable
in two of the principal works--in the Bargello at Florence, and in the
church of the Incoronata at Naples--formerly attributed to him but now
relegated to his pupils. The portrait of Dante in a fresco on the wall
of the Bargello shows a deep and penetrating mind, and in the
_Sacraments_ at Naples we find heads copied from life with obvious
fidelity and such a natural conception of particular scenes as brings
them to the mind of the spectator with extraordinary distinctness.

Of Giotto's numerous followers in the fourteenth century it is
impossible in the present work to give any particular account, but of
his influence at large on the practice as on the treatment and
conception of painting at this stage of its development, one or two
examples may be cited as typical of the progress he urged, such as the
frescoes in the Campo Santo at Pisa. This wonderful cloister, which
measures four hundred feet in length and over a hundred in
width--traditionally the dimensions of Noah's ark--was founded by the
Archbishop Ubaldo, before 1200, on his return from Palestine bringing
fifty-three ships laden with earth from the Holy Land. On this soil it
was erected, and surrounded by high walls in 1278. The whole of these
walls were afterwards adorned with paintings, in two tiers.

So far as concerns the history of painting, the question of the
authorship of these frescoes--which are by several distinct hands--is
altogether subordinate to that of the subjects depicted and the manner
in which they are treated, and we shall learn more from a general survey
of them than by following out the fortunes of particular painters. The
earliest are those on the east side, near the chapel, but more important
are those on the north, of about the middle of the fourteenth century,
which show a decided advance, both in feeling and execution, beyond
Giotto. The first is _The Triumph of Death_, in which the supernatural
is tempered with representations of what is mortal to an extent that
already shows that painting was not to be confined to religious uses
alone. All the pleasures and sorrows of life are here represented, on
the earth; it is only in the sky that we see the demons and angels. On
one side is