over the marble tomb of Carlo Marsuppini of Arezzo, there is a Crucifix, with the Madonna, S. John, and Magdalene at the foot of the Cross; and on the other side of the church, exactly opposite this, over the burial-place of Lionardo Aretino, facing the high-altar, there is an Annunciation, which has been recoloured by modern painters, with small judgment on the part of him who has had this done. In the refectory, on a Tree of the Cross, are stories of S. Louis and a Last Supper by the same man's hand; and on the wardrobes in the sacristy are scenes with little figures from the life of Christ and of S. Francis. He wrought, also, in the Church of the Carmine, in the Chapel of S. Giovanni Battista, all the life of that Saint, divided into a number of pictures; and in the Palace of the Guelph party, in Florence, there is a story of the Christian Faith, painted perfectly in fresco by his hand; and therein is the portrait of Pope Clement IV, who created that magisterial body, giving it his arms, which it has always held and holds still. [Illustration: _Anderson_ THE BODY OF S. FRANCIS BEFORE THE CHURCH OF S. DAMIANO (_After the fresco of the_ Roman School. _Assisi: Upper Church of S. Francesco_)] After these works, departing from Florence in order to go to finish in Assisi the works begun by Cimabue, in passing through Arezzo he painted in the Pieve the Chapel of S. Francesco, which is above the place of baptism; and on a round column, near a Corinthian capital that is both ancient and very beautiful, he portrayed from nature a S. Francis and a S. Dominic; and in the Duomo without Arezzo he painted the Stoning of S. Stephen in a little chapel, with a beautiful composition of figures. These works finished, he betook himself to Assisi, a city of Umbria, being called thither by Fra Giovanni di Muro della Marca, then General of the Friars of S. Francis; where, in the upper church, he painted in fresco, under the gallery that crosses the windows, on both sides of the church, thirty-two scenes of the life and acts of S. Francis--that is, sixteen on each wall--so perfectly that he acquired thereby very great fame. And in truth there is seen great variety in that work, not only in the gestures and attitudes of each figure but also in the composition of all the scenes; not to mention that it enables us very beautifully to see the diversity of the costumes of those times, and certain imitations and observations of the things of nature. Among others, there is one very beautiful scene, wherein a thirsty man, in whom the desire for water is vividly seen, is drinking, bending down on the ground by a fountain with very great and truly marvellous expression, in a manner that it seems almost a living person that is drinking. There are also many other things there most worthy of consideration, about which, in order not to be tedious, I do not enlarge further. Let it suffice that this whole work acquired for Giotto very great fame, by reason of the