THE ENTRY INTO JERUSALEM. This design suffers much from loss of colour in translation. Its decorative effect depends on the deep blue ground, relieving the delicate foliage and the local colours of dresses and architecture. It is also one of those which are most directly opposed to modern feeling: the sympathy of the spectator with the passion of the crowd being somewhat rudely checked by the grotesque action of two of the foremost figures. We ought, however, rather to envy the deep seriousness which could not be moved from dwelling on the real power of the scene by any ungracefulness or familiarity of circumstance. Among men whose minds are rightly toned, nothing is ludicrous: it must, if an act, be either right or wrong, noble or base; if a thing seen, it must either be ugly or beautiful: and what is either wrong or deformed is not, among noble persons, in anywise subject for laughter; but, in the precise degree of its wrongness or deformity, a subject of horror. All perception of what, in the modern European mind, falls under the general head of the ludicrous, is either childish or profane; often healthy, as indicative of vigorous animal life, but always degraded in its relation to manly conditions of thought. It has a secondary use in its power of detecting vulgar imposture; but it only obtains this power by denying the highest truths. * * * * * XXVI. THE EXPULSION FROM THE TEMPLE. More properly, the Expulsion from the outer Court of the Temple (Court of Gentiles), as Giotto has indicated by placing the porch of the Temple itself in the background. The design shows, as clearly as that of the Massacre of the Innocents, Giotto's want of power, and partly of desire, to represent rapid or forceful action. The raising of the right hand, not holding any scourge, resembles the action afterwards adopted by Oreagna, and finally by Michael Angelo in his Last Judgment: and my belief is, that Giotto considered this act of Christ's as partly typical of the final judgment, the Pharisees being placed on the left hand, and the disciples on the right. From the faded remains of the fresco, the draughtsman could not determine what animals are intended by those on the left hand. But the most curious incident (so far as I know, found only in this design of the Expulsion, no subsequent painter repeating it), is the sheltering of the two children, one of them carrying a dove, under the arm and cloak of two disciples. Many meanings might easily be suggested in this; but I see no evidence for the adoption of any distinct one. * * * * * XXVII. THE HIRING OF JUDAS.