of a fool with his bauble immediately underneath that of Christ, and by making a cat play with her shadow in one of the wine-vases. It is to be remembered, however, in examining all pictures of this subject, that the miracle was not made manifest to all the guests;--to none indeed, seemingly, except Christ's own disciples: the ruler of the feast, and probably most of those present (except the servants who drew the water), knew or observed nothing of what was passing, and merely thought the good wine had been "kept until now." * * * * * XXIV. THE RAISING OF LAZARUS. In consequence of the intermediate position which Giotto occupies between the Byzantine and Naturalist schools, two relations of treatment are to be generally noted in his work. As compared with the Byzantines, he is a realist, whose power consists in the introduction of living character and various incidents, modifying the formerly received Byzantine symbols. So far as he has to do this, he is a realist of the purest kind, endeavoring always to conceive events precisely as they were likely to have happened; not to idealise them into forms artfully impressive to the spectator. But in so far as he was compelled to retain, or did not wish to reject, the figurative character of the Byzantine symbols, he stands opposed to succeeding realists, in the quantity of meaning which probably lies hidden in any composition, as well as in the simplicity with which he will probably treat it, in order to enforce or guide to this meaning: the figures being often letters of a hieroglyphic, which he will not multiply, lest he should lose in force of suggestion what he gained in dramatic interest. None of the compositions display more clearly this typical and reflective character than that of the Raising of Lazarus. Later designers dwell on vulgar conditions of wonder or horror, such as they could conceive likely to attend the resuscitation of a corpse; but with Giotto the physical reanimation is the type of a spiritual one, and, though shown to be miraculous, is yet in all its deeper aspects unperturbed, and calm in awfulness. It is also visibly gradual. "His face was bound about with a napkin." The nearest Apostle has withdrawn the covering from the face, and looks for the command which shall restore it from wasted corruption, and sealed blindness, to living power and light. Nor is it, I believe, without meaning, that the two Apostles, if indeed they are intended for Apostles, who stand at Lazarus' side, wear a different dress from those who follow Christ. I suppose them to be intended for images of the Christian and Jewish Churches in their ministration to the dead soul: the one removing its bonds, but looking to Christ for the word and power of life; the other inactive and helpless--the veil upon its face--in dread; while the principal figure fulfils the order it receives in fearless simplicity. * * * * * XXV.