Many of Giotto’s immediate pupils are mere names to us. Maso, whom the sculptor commentator Ghiberti praised for his sweetness, Stefano whom he dubbed the “ape of nature,” Puccio Capanna—their work must be at Assisi, but criticism has not succeeded in clearly disengaging it. The nameless master who executed the Franciscan allegories at Assisi and designed the stories of Christ’s youthful days, in the adjoining right transept, is the most accomplished and individual follower of Giotto. He works for grace, pathos, sumptuousness, and decorative breadth. He is a Giotto with the angles rubbed down. By comparing Giotto’s Flight of the Holy Family to Egypt, with the later version at Assisi, Figure 25, we may grasp the difference between master and scholar. Giotto is brusque, harsh, noble; the flight through a rocky defile gives a sense of urgency and peril; the composition carries forward like the ram of a battleship. In the version at Assisi the flight has become an attractive family excursion through a romantic valley; the mood is gentle, charming, unspecific. A moment in an epic has been attenuated into an idyl. This master never fails to express a dreamy sort of poetry, and in such compositions as the Massacre of the Innocents, and the Calvary, he commands a genuine pathos. He is exactly what Giotto might have been, had he skipped the strenuous Paduan phase, and become a decorator without the preliminary discipline of the draughtsman. There are reasons for thinking that this work was done by a shop assistant of Giotto’s, who for many years directed the decoration of the Lower Church at Assisi in Giotto’s stead. Some of the work in the Childhood of Christ, I believe, may be as late as 1330 to 1335.