53. A few pages farther on, the question of _Giotto's_ claim to the authorship of the designs for this door is discussed at length, and, to the annihilation of the honor here attributed to _Andrea_, determined affirmatively, partly on the testimony of Vasari, partly on internal evidence--these designs being asserted by our author to be "thoroughly Giottesque." But, not to dwell on Lord Lindsay's inconsistency, in the ultimate decision his discrimination seems to us utterly at fault. Giotto has, we conceive, suffered quite enough in the abduction of the work in the Campo Santo, which was worthy of him, without being made answerable for these designs of Andrea. That he gave a rough draft of many of them, is conceivable; but if even he did this, Andrea has added cadenzas of drapery, and other scholarly commonplace, as a bad singer puts ornament into an air. It was not of such teaching that came the "Jabal" of Giotto. Sitting at his tent door, he withdraws its rude drapery with one hand: three sheep only are feeding before him, the watchdog sitting beside them; but he looks forth like a Destiny, beholding the ruined cities of the earth become places, like the valley of Achor, for herds to lie down in. 54. We have not space to follow our author through his very interesting investigation of the comparatively unknown schools of Teutonic sculpture. With one beautiful anecdote, breathing the whole spirit of the time--the mingling of deep piety with the modest, manly pride of art--our readers must be indulged:-- * * *