FIG. 49. Pietro Lorenzetti. Birth of the Virgin.—_Opera del Duomo, Siena._ ] Ambrogio Lorenzetti was born about the beginning of the century. In 1331 and later he painted remarkable frescoes for the Church of St. Francis. These if complete would afford the most interesting comparisons with Giotto at Florence, but the two that remain are among the best narrative paintings of the time. What will first strike the observer in the story of St. Louis of Toulouse renouncing his throne as he takes the Franciscan vow, Figure 50, is the variety and orderliness of the emotions. The devotion of the saint is well offset by the intense, melancholy curiosity of his brother Robert, who becomes king through the sacrifice. The audience is divided into admiring Franciscans and idly marveling courtiers, the whole well dominated by the kindly and reverend figure of the Pope. Remarkable is the methodical division of the spaces. A slender column establishes the picture plane and sets the figures back. A sort of desk in a hollow square defines and isolates the monastic group, while the courtiers have their appropriate location in a third plane of alcoves. Florence has next to nothing of this sort at this period, and it may be noted that this careful division of spaces is not matter of display and curiosity as in Duccio, but is logical and effective as regards the persons of the narrative. [Illustration: FIG. 50. Ambrogio Lorenzetti. Prince Louis of Toulouse receives the Franciscan Vow.—_San Francesco, Siena._ ] Of similar significance, but more dramatic and picturesque, is the martyrdom of the Franciscan missionaries before the Sultan of Morocco. The elaborated spaces make for clarity, the entirely professional and impersonal cruelty of the Moorish tyrant and his bodyguard is splendidly caught and effectively contrasted with the courageous submission of the martyrs. Lorenzo Ghiberti praises the energy and character of this work, and the observer of today feels as deeply its romantic appeal. All the figures are set on receding platforms, the problem of space is solved along lines of intelligent literalism.[24] [Illustration: FIG. 51. Ambrogio Lorenzetti. Madonna in Majesty.—_Massa Marittima._ ]