This was a subject in which Giotto made a new departure. None of the Byzantine or earliest Italian painters ventured to introduce the entire figure of Christ in this scene. They showed the feet only, concealing the body; according to the text, "a cloud received Him out of their sight." This form of representation may be seen in some manuscripts in the British Museum. In the Arena at Padua, Giotto broke away from this tradition and introduced the entire figure of Christ; succeeding also in conveying the idea of ascending motion very skilfully. Orcagna's picture is modelled on the new type fixed by Giotto. 578. THE DESCENT OF THE HOLY SPIRIT. _Orcagna_ (part of the altar-piece, 569). The descent of the Holy Spirit is represented above; and below, the multitude confounded, every man hearing his own language. 579. THE BAPTISM OF CHRIST. School of _Taddeo Gaddi_ (Florentine: 1300-1366). _See_ 215. _See also_ (p. xix) In the centre is John the Baptist, baptizing Christ; on the left St. Peter, on the right St. Paul. In the pictures for the _predella_ (the step on the top of the altar, thus forming the base of the altar-piece) is a saint at either end; and then, on the left, (1) the angel announcing the Baptist's birth, (2) his birth, (3) his death, (4) Herod's feast, and (5) Herodias with John the Baptist's head in a charger. The picture must have been the work of an inferior scholar; but it is interesting to notice that this attempt to tell a consecutive story in his picture, as in an epic poem, instead of a fastening on some one turning-point in it, as in a drama, is characteristic of early art (see under 1188). Notice further in the central picture "how designedly the fish in the water are arranged: not in groups, as chance might rule in the actual stream, but in ordered procession. All great artists ... have shown this especial delight in ordering the relations of self-set details" (A. H. Macmurdo in _Century Guild Hobby Horse_, i. 71). 579a. PARTS OF AN ALTAR-PIECE. School of _Taddeo Gaddi_ (Florentine: 1300-1366). _See_ 215. _See also_ (p. xix) These three panels formed the _cuspidi_ of the Baptism of Christ (579). In the centre is the Almighty, on the left the Virgin, on the right Isaiah, holding a scroll with the words (in Latin), "Behold a virgin shall conceive." 580, 580a and b. THE ASCENSION OF ST. JOHN THE EVANGELIST. _Jacopo Landini_ (Florentine: about 1310-1390). Jacopo Landini was born at Prato Vecchio, in the Casentino; whence his common designation, Jacopo da Casentino. This picture was formerly in the Church of St. John at the painter's native place. He was a pupil of Taddeo Gaddi, and the master of Spinello Aretino.