61. The fourth letter opens in the fields of Vespignano. The circumstances of the finding of Giotto by Cimabue are well known. Vasari's anecdote of the fly painted upon the nose of one of Cimabue's figures might, we think, have been spared, or at least not instanced as proof of study from nature "nobly rewarded." Giotto certainly never either attempted or accomplished any small imitation of this kind; the story has all the look of one of the common inventions of the ignorant for the ignorant; nor, if true, would Cimabue's careless mistake of a black spot in the shape of a fly for one of the living annoyances of which there might probably be some dozen or more upon his panel at any moment, have been a matter of much credit to his young pupil. The first point of any real interest is Lord Lindsay's confirmation of Foerster's attribution of the Campo Santo Life of Job, till lately esteemed Giotto's, to Francesco da Volterra. Foerster's evidence appears incontrovertible; yet there is curious internal evidence, we think, in favor of the designs being Giotto's, if not the execution. The landscape is especially Giottesque, the trees being all boldly massed first with dark brown, within which the leaves are painted separately in light: this very archaic treatment had been much softened and modified by the Giotteschi before the date assigned to these frescoes by Foerster. But, what is more singular, the figure of Eliphaz, or the foremost of the three friends, occurs in a tempera picture of Giotto's in the Academy of Florence, the Ascension, among the apostles on the left; while the face of another of the three friends is again repeated in the "Christ disputing with the Doctors" of the small tempera series, also in the Academy; the figure of Satan shows much analogy to that of the Envy of the Arena chapel; and many other portions of the design are evidently either sketches of this very subject by Giotto himself, or dexterous compilations from his works by a loving pupil. Lord Lindsay has not done justice to the upper division--the Satan before God: it is one of the very finest thoughts ever realized by the Giotteschi. The serenity of power in the principal figure is very noble; no expression of wrath, or even of scorn, in the look which commands the evil spirit. The position of the latter, and countenance, are less grotesque and more demoniacal than is usual in paintings of the time; the triple wings expanded--the arms crossed over the breast, and holding each other above the elbow, the claws fixing in the flesh; a serpent buries its head in a cleft in the bosom, and the right hoof is lifted, as if to stamp.