door of the sacristy, by the same man's hand and also in fresco, there is a S. Francis who is receiving the Stigmata, so loving and devout that to me it appears the most excellent picture that Giotto made in these works, which are all truly beautiful and worthy of praise. Having finished, then, for the last, the said S. Francis, he returned to Florence, where, on arriving there, he painted, on a panel that was to be sent to Pisa, a S. Francis on the tremendous rock of La Vernia, with extraordinary diligence, seeing that, besides certain landscapes full of trees and cliffs, which was something new in those times, there are seen in the attitude of a S. Francis, who is kneeling and receiving the Stigmata with much readiness, a most ardent desire to receive them and infinite love towards Jesus Christ, who, being surrounded in the sky by seraphim, is granting them to him with an expression so vivid that anything better cannot be imagined. In the lower part of the same panel there are three very beautiful scenes of the life of the same Saint. This panel, which to-day is seen in S. Francesco in Pisa on a pillar beside the high-altar, and is held in great veneration as a memorial of so great a man, was the reason that the Pisans, having just finished the building of the Campo Santo after the design of Giovanni, son of Niccola Pisano, as has been said above, gave to Giotto the painting of part of the inner walls, to the end that, since this so great fabric was all incrusted on the outer side with marbles and with carvings made at very great cost, and roofed over with lead, and also full of sarcophagi and ancient tombs once belonging to the heathens and brought to Pisa from various parts of the world, even so it might be adorned within, on the walls, with the noblest painting. Having gone to Pisa, then, for this purpose, Giotto made in fresco, on the first part of a wall in that Campo Santo, six large stories of the most patient Job. And because he judiciously reflected that the marbles of that part of the building where he had to work were turned towards the sea, and that, all being saline marbles, they are ever damp by reason of the south-east winds and throw out a certain salt moisture, even as the bricks of Pisa do for the most part, and that therefore the colours and the paintings fade and corrode, he caused to be made over the whole surface where he wished to work in fresco, to the end that his work might be preserved as long as possible, a coating, or in truth an intonaco or incrustation--that is to say, with lime, gypsum, and powdered brick all mixed together; so suitably that the pictures which he afterwards made thereon have been preserved up to the present day. And they would be still better if the negligence of those who should have taken care of them had not allowed them to be much injured by the damp, because the fact that this was not provided for, as was easily possible, has been the reason that these