At about this period I think we may set the several crucifixes in Florentine churches, without inquiring too narrowly whether they are by the master or by scholars. Giotto has developed a singularly noble type. The Christ is no longer contorted in agony as in the crucifixes by Cimabue. He is dead, with his head quietly sunk on the powerful breast, and the body relaxed. The conception is humanistic. One feels chiefly the pity of stretching that glorious thing that is a man’s body on a cross. Probably the earliest of these crucifixes is that at Santa Maria Novella, while the finest is at San Felice. About 1320 we may set the dismembered _ancona_, painted for Cardinal Gaetano Stefaneschi, which originally stood on the high altar of St. Peter’s, Rome. The tarnished fragments which you may still see in the sacristy, are more splendid in color than any other tempera painting whatsoever. Probably only the central panels, Christ and St. Peter enthroned, are from Giotto’s hand, the side panels representing the martyrdom of Peter and Paul may well be both designed and executed by the accomplished assistant who carried out the allegories at Assisi. [Illustration: FIG. 19. Giotto. Naming of St. John the Baptist.—_Peruzzi Chapel, Santa Croce._ ] So far we have seen Giotto a wanderer. Assisi, Rome, Padua, Rimini, delighted to do him honor, but apparently Florence had claimed few works from his hand. We have record of frescoes in the Badia which may have been early works. It was the decoration of Arnolfo’s great Franciscan church of Santa Croce that finally recalled Giotto and evoked his most accomplished work. He completed in the transepts of Santa Croce four chapels and as many altar-pieces. The frescoes were white-washed in the 16th century, and the panels broken up and lost. But in the last century the white-wash was scraped off from two of the chapels, and there we may see, so far as defacement and repainting permit, the masterpieces of the early Florentine school. We may reasonably guess the date of this work to be somewhere about 1320, Giotto being nearly sixty.