62. We should have been glad if Lord Lindsay had given us some clearer idea of the internal evidence on which he founds his determination of the order or date of the works of Giotto. When no trustworthy records exist, we conceive this task to be of singular difficulty, owing to the differences of execution universally existing between the large and small works of the painter. The portrait of Dante in the chapel of the Podesta is proved by Dante's exile, in 1302, to have been painted before Giotto was six and twenty; yet we remember no head in any of his works which can be compared with it for carefulness of finish and truth of drawing; the crudeness of the material vanquished by dexterous hatching; the color not only pure, but deep--a rare virtue with Giotto; the eye soft and thoughtful, the brow nobly modeled. In the fresco of the Death of the Baptist, in Santa Croce, which we agree with Lord Lindsay in attributing to the same early period, the face of the musician is drawn with great refinement, and considerable power of rounding surfaces--(though in the drapery may be remarked a very singular piece of archaic treatment: it is warm white, with yellow stripes; the dress itself falls in deep folds, but the striped pattern does not follow the foldings--it is drawn across, as if with a straight ruler). 63. But passing from these frescoes, which are nearly the size of life, to those of the Arena chapel at Padua, erected in 1303, decorated in 1306, which are much smaller, we find the execution proportionably less dexterous. Of this famous chapel Lord Lindsay says-- * * * "nowhere (save in the Duomo of Orvieto) is the legendary history of the Virgin told with such minuteness. "The heart must indeed be cold to the charms of youthful art that can enter this little sanctuary without a glow of delight. From the roof, with its sky of ultramarine, powdered with stars and interspersed with medallions containing the heads of our Saviour, the Virgin and the Apostles, to the mock paneling of the nave, below the windows, the whole is completely covered with frescoes, in excellent preservation, and all more or less painted by Giotto's own hand, except six in the tribune, which however have apparently been executed from his cartoons....