We first meet Pietro Lorenzetti as an artist in the altar-back at the Pieve, Arezzo,[22] Figure 46, which was finished in 1320. It is an _ancona_, or compartmented piece and the most splendid that has come down in Romanesque form. The figures are of two sorts. The Madonna is of intent Gothic type, and the fine motive of holding off the Christchild at elbow length in order to see him better is borrowed from Giovanni Pisano, who in turn took it from French Gothic sculpture. So are the forms above in the Annunciation new and graceful, while the little boxed room with its plastic column is also novel. The Assumption of the Madonna in the highest pinnacle is probably the earliest occurrence of this famous Sienese theme in painting. But all the figures of saints in the three orders of the side panels are taken almost without change from Duccio’s great altar-piece. It would be interesting to trace Pietro’s emancipation through a dozen panels. No one better combined dignity with grace, and feeling, and splendor. His work in fresco is fragmentary and confused with that of his younger brother. We are certain of nothing except a fragment of a deeply felt Calvary in the Church of St. Francesco, at Siena. Many critics ascribe to him the agitated and wildly picturesque frescoes of the Passion in the left transept of the Lower Church at Assisi.[23] But this, I think, is a mistake. Pietro is never in his certain works so lively and indecorous and casual. We have to do with an artist influenced by Duccio working about 1330, Pietro himself may appear as the Stigmatization, Figure 47, and one or two of the other simpler compositions. The other frescoes are chiefly interesting as showing the dangers of the panoramic method of Siena. Take the Last Supper, Figure 48. The theme is simply lost in the fantastic richness of the accessories. It is hard to find Christ or Judas, for the eye seeks the radiating rafters or the scullery where cats lurk and eager scullions wipe the dishes. [Illustration: FIG. 47. Pietro Lorenzetti, or Follower. St. Francis receiving the Stigmata. Fresco.—_Lower Church, Assisi._ ] [Illustration: FIG. 48. School of Pietro Lorenzetti. The Last Supper. Fresco.—_Lower Church, Assisi._ ] In the Birth of the Virgin, dated 1342, Figure 49, Pietro spoils a carefully studied and well-felt picture by elaboration of the setting. The frame is conceived as the plastic front of a Gothic room within and behind which, spaces are multiplied confusingly. Here the pedantic preoccupation with the problem of space offends the eye and destroys the unity of what in a simpler setting would be a monumental composition. It illustrates the dangers of that smaller realism which from Duccio down afflicted the more progressive painters of Siena. Such a picture enables us to appreciate the tact and thoughtfulness with which Ambrogio Lorenzetti approached his narrative themes. [Illustration: