A mere catalogue of those painters who pursued the panoramic method with ability can hardly be expected. One and all they followed the Sienese narrative style. Prominent would be certain incomers from other cities, Giovanni da Milano, Antonio Veneziano, and Spinello Aretino. These are typical decorators of the last quarter of the 14th century. [Illustration: FIG. 31. Andrea Bonaiuti, The Navicella, fresco, closely imitated from Giotto’s Mosaic at St. Peter’s, Rome.—_Spanish Chapel._ ] We do better to fix our attention upon the most remarkable example of the Florentine panoramic style, the decoration of the Spanish Chapel, the chapter house attached to the Dominican Church of Santa Maria Novella.[14] The work was begun by Andrea Bonaiuti in the year 1365, as we know from a recently discovered document. As decoration it is delightful, if rather superficially so. The artist treats his spaces as wholes, declining to cut them up into oblongs after the earlier fashion. He covers his great surfaces with ease and taste, has a knack at illustration, and a fine sense of color. The great Calvary over the triumphal arch imposes from its very vastness; the triangles of the cross vault, including a spirited transcript of Giotto’s Navicella, Figure 31, are composed with clarity and skill; the famous composition of the Dominican theologian, St. Thomas Aquinas, enthroned above the Liberal Arts and Sciences, and their representatives in history, combines an almost Byzantine formality and grandeur with prettiness and ingenuity in details. But the method is better shown in the decoration opposite, which represents the dual earthly powers, the Pope and the Emperor, enthroned equally, and supported by the representatives of the spiritual orders and secular estates, Figure 32. The group which symbolizes the right government of society, according to mediæval ideas, is set before a church which quite faithfully shows what the Cathedral of Florence was then intended to be. High up in the arch is the goal of all earthly endeavor—Heaven with Christ enthroned amid the angels; an altar with a lamb before Him, symbolizing His sacrifice; His Mother kneeling as intercessor for mankind. The Gate of Heaven with St. Peter in attendance, is naïvely set above the church on a sort of aerial raft. Below is a novel realistic touch, the villa-studded sky line of hills which encloses Florence. The real guide to St. Peter’s presence is always a Dominican monk, usually St. Dominic himself is intended—the founder and militant evangelist of the order, as St. Thomas Aquinas was its systematic theologian. In the lower range of the picture, St. Dominic confutes the heretics, who tear their wicked books in despair. Above he vainly beseeches careless gentlefolk at dalliance in an orange grove; still higher, he leads the truly penitent to Heaven’s gate. At the foot the Domini Canes (a bad pun for Dominicans) are vigilant. The