The earliest examples of his work extant are the frescoes forming the lower range in the Upper Church at Assisi. His frescoes of the virtues in the Lower Church are believed to belong to a later period. So great was his fame that in 1298 he was sent for to do some work for the Pope. It was for him that Giotto sent as his testimonial the famous circle drawn with a brush, without compasses. "You may judge my masterhood of craft," Giotto tells us, "by seeing that I can draw a circle unerringly." (Hence the saying, "rounder than the O of Giotto.") After a short time in Rome, Giotto returned to Florence and painted the chapel of the Podestà, or Bargello, of Florence, which was rescued from destruction in 1841. Some of Giotto's work in it was restored. Here is his famous portrait of Dante (traced previous to restoration and published by the Arundel Society). To a later period belong his frescoes in the church of Santa Croce. In 1303 Giotto was called to decorate the walls of the chapel of the Annunziata dell' Arena at Padua. This he did with a series of compositions which are the greatest monument of his genius. It was during the execution of this work that Dante visited Padua, being entertained by his friend the painter. "Thus went Giotto, a serene labourer, throughout the length and breadth of Italy. He engaged himself in other tasks at Ferrara, Verona, and Ravenna, and at last at Avignon, where he became acquainted with Petrarch. Then passed rapidly through Florence and Orvieto on his way to Naples, where he received the kindest welcome from the good King Robert. The King, ever partial to men of mind and genius, took especial delight in Giotto's society; and Giotto (says Vasari), who had ever his repartee ready, held him fascinated at once with the magic of his pencil and pleasantry of his tongue. Returning to Florence, Giotto was appointed chief master of the works of the Duomo then in progress. He designed the Campanile, modelled the bas-relief for the base of the building, and sculptured two of them with his own hand. He died full of honour and at the zenith of his strength. He was buried in the cathedral, at the angle nearest his campanile; and thus the tower, which is the chief grace of his native city, may be regarded as his own sepulchral monument." Only those who have seen Giotto's wall paintings at Assisi, Padua, and Florence can form any true conception of his greatness. It is pointed out below in what respects his work was remarkable and important for his time. It has also an abiding value in itself. "In nine cases out of ten," says Ruskin, "the first expression of an idea is the most valuable: the idea may afterwards be polished