ising one above the other, each of equal size, and without any
pretension to perspective: the single groups, at the same time, are
executed with much grace and feeling.

Next to this are six pictures of the history of S. Ranieri, and as many
of the lives of S. Efeso and S. Potito. The latter are known to have
been painted in 1392 by Spinello of Arezzo, or Spinello Aretino as he is
called, of whose work we have some fragments in the National
Gallery--alas too few! Two of these fragments are from his large fresco
_The Fall of the Rebellious Angels_, painted for the church of S. Maria
degli Angeli at Arezzo, which after being whitewashed over were rescued
on the conversion of the church to secular uses. Vasari relates that
when Spinello had finished this work the devil appeared to him in the
night as horrible and deformed as in the picture, and asked him where he
had seen him in so frightful a form, and why he had treated him so
ignominiously. Spinello awoke from his dream with horror, fell into a
state of abstraction, and soon afterwards died.

On the third part of the south wall is represented the history of Job,
in a series of paintings which were formerly attributed to Giotto
himself, though it is now recognised that they cannot be of an earlier
date than about 1370.

The _Temptation of Job_ is by Taddeo Gaddi, and the others, painted in
1372, are probably by Francesco da Volterra--not to be confused with the
sixteenth century painter Daniele da Volterra.

The paintings on the west wall are of inferior workmanship, while those
on the north were the crowning achievement of Benozzo Gozzoli a century
later.

III

THE EARLIER QUATTROCENTISTS

COMING to the second period in the development of the new art--roughly,
that is to say, from 1400 to 1450--Vasari observes that even where there
is no great facility displayed, yet the works evince great care and
thought; the manner is more free and graceful, the colouring more varied
and pleasing; more figures are employed in the compositions, and the
drawing is more correct inasmuch as it is closer to nature. It was
Masaccio, he says, who during this period superseded the manner of
Giotto in regard to the painting of flesh, draperies, buildings, etc.,
and also restored the practice of foreshortening and brought to light
that modern manner which has been followed by all artists. More natural
attitudes, and more effectual expression of feeling in the gestures and
move