It has been my pleasure to visit and revisit these wall-paintings over a period of a quarter of a century, and growing experience does but enhance my admiration. They fulfil the first requirements of wall decoration: the story is told lucidly and concisely; the style is simple, noble; accidents are held subordinate to essentials; the compositions are distributed symmetrically; the colour, though a little crude, is brought into somewhat agreeable unity; the light and shade are not focussed at one point, but carried evenly over the whole surface; and the treatment inclines sufficiently to the flat to keep the compositions down on the wall. The finished pictures of the four masters vary in dimensions. The lengths range from eight to seventeen feet, the height is mostly about eight feet; the figures do not exceed five feet. The lines bounding the figures and draperies are firm and incisive. Accordant with the practice of the old fresco-painters, each day's work is marked and discernible by the joinings in the plaster, and the junctions between the dry plaster of one day and the wet plaster of the next are appropriately fixed at the points where the subject breaks off readily and can be resumed most easily. The technique is thoroughly mastered, and, barring some surface cracks, the paintings are in as perfect condition as when they came from the artists' hands. The chief defect is a somewhat crude opacity of pigments, a characteristic belonging to the debased period of wall-painting rather than to the "_fresco buono et puro_" of Giotto, Luini, and Pinturicchio.