[12] Anno Domini MCCXII. ultima die Februarii presidente venerabile Tridentino Episcopo Frederico de Vanga, et disponente hujus Ecclesie opus incepit et construxit magister Adam de Arognio Cumane Dioc. et circuitum ipse, sui filii, inde sui Aplatici cum appendiciis intrinsece et extrinsece istius ecclesie magisterio fabricarunt. Cujus et sue prolis hic subtus sepulcrum manet. Orate pro eis. [13] The church of the Capuchins, at Lugo, is a Spanish example of the same arrangement. [14] Admirable drawings of it have been published by Mr. Grüner. [15] An extremely careful chroma-lithograph of this wall and monument has been issued by the Arundel Society, accompanied with a notice of both, written by Mr. Ruskin. [16] I leave this passage as it originally stood. It is pleasant to feel how completely unnecessary it is now to use such language on the subject. [17] It is not a little remarkable that this should be the monument a copy of which the late Duke of Brunswick desired in his will to have erected over his grave! [18] The wings of these angels are of metal, though the figures themselves are marble. [19] This grille is worthy of especial notice. Instead of being hard and stiff, it is all linked together, so that it is more like a piece of chain mail than of iron railing. Its intricacy adds manifold to the effect of the group of tombs which it half conceals. [20] I need hardly say that all this is changed, and I hope changed for the better. The city looks more thriving than it did, and more of the old mansions are properly occupied than was the case in the time of the Austrians. [21] This cloister is said to have been built in 1123. This is, I think, at least fifty years earlier than its real date. [22] The sculptor of this work left his name--Adaminus--on the capital. [23] The most important of these is the interesting church of San Stefano in the suburb on the opposite side of the Adige. It has been much modernized, but has still, I believe, an early crypt and an octagonal steeple over the crossing of the same age as San Zenone. [24] See also ‘Pietro Brandolese, Scultura, Pittura, &c., di Padova.’ Padova, 1795. [25] Since this was written the whole of these subjects have been published by the Arundel Society, and Mr. Ruskin’s notice of them has also been given to us: they are very valuable as exemplifying, as well perhaps as colourless engravings can do, the exceeding value and originality of this series of paintings. It is to be wished that they may produce some effect upon the minds of our modern artists, who much require to take home to themselves the lesson of sincerity and earnestness of purpose, combined with the highest kind of subject, which Giotto so eminently exhibits in all his works. An extremely good series of photographs of the whole of these paintings may now also be obtained in Venice.