In the chapel of the Bargello, Giotto has rendered this scene with yet more passionate sympathy. Here, however, its significance is more thoughtfully indicated through all the accessories, down even to the withered trees above the sepulchre, while those of the garden burst into leaf. This could hardly escape notice when the barren boughs were compared by the spectator with the rich foliage of the neighbouring designs, though, in the detached plate, it might easily be lost sight of. * * * * * XXXVII. THE ASCENSION. Giotto continues to exert all his strength on these closing subjects. None of the Byzantine or earlier 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 composition, graceful as it is daring, conveys the idea of ascending motion more forcibly than any that I remember by other than Venetian painters. Much of its power depends on the continuity of line obtained by the half-floating figures of the two warning angels. I cannot understand why this subject was so seldom treated by religious painters: for the harmony of Christian creed depends as much upon it as on the Resurrection itself; while the circumstances of the Ascension, in their brightness, promise, miraculousness, and direct appeal to all the assembled Apostles, seem more fitted to attract the joyful contemplation of all who received the faith. How morbid, and how deeply to be mourned, was the temper of the Church which could not be satisfied without perpetual representation of the tortures of Christ; but rarely dwelt on His triumph! How more than strange the concessions to this feebleness by its greatest teachers; such as that of Titian, who, though he paints the Assumption of the Madonna rather than a Pieta, paints the Scourging and the Entombment of Christ, with his best power,--but never the Ascension! * * * * * XXXVIII. THE DESCENT OF THE HOLY SPIRIT. This last subject of the series, the quietest and least interesting in treatment, yet illustrates sadly, and forcibly, the vital difference between ancient and modern art.