No pupil was permitted to use a brush till he had learned all the craft of colour grinding and the like, and this was supposed to take about six years. These workshops were likely to be dull, gloomy places, and only a strong desire to do such things as they saw their master doing, would induce a boy to persevere through the first drudgery of the work. Giotto persevered, and not only became an original painter, at a time when even Cimabue hardly made figures appear human in outline, but he designed the great Campanile in Florence, and he saw it partly finished before he died. The Campanile is a wonder of architecture, but Giotto's Madonnas had to be improved upon, as certainly as he had improved upon those of Cimabue. There are many amusing stories of Giotto, mainly telling of his good nature, and his ugly appearance, which everyone forgot in appreciation of his truly kind heart. Once a visit was made to his studio by the King of Naples, after the artist had become famous. Giotto was painting busily, though the day was very hot. The King entered, and bade Giotto not to be disturbed but to continue his work, adding: "Still, if I were you, I should not paint in such hot weather." Giotto looked up with a laugh in his eye: "Neither would I--if I were you, Sire!" he answered. There is a famous saying: "As round as Giotto's "O," and this is how it came about. The pope wanted the best of the Florentine artists to do some work in Rome for him and he sent out to them for examples of their work. When the pope's messenger came to Giotto the artist was very busy. When asked for some of his work to show the pope, he paused, snatched a piece of paper and with the brush he had been using, which was full of red paint, he hurriedly drew a circle and gave it to the messenger who stared at him. "But--is this _all_?" he asked. "All--yes--and too much. Put it with the others." This perfect circle and the account the messenger gave of his visit so delighted the pope that Giotto was chosen from all the Florentine artists to decorate the Roman buildings. Thus Giotto worked till he was fifty-seven or eight years old when he put aside his brush and turned to sculpture and architecture. Meantime he had far outstripped his master in art. The arrangement of the groups is about the same, but the figures look human and the draperies are more natural, while he gives the appearance of length, breadth, and thickness to his thrones and enclosures. We shall not choose a Madonna for illustration, but another of Giotto's masterpieces, remembering that good as he was in his time, he seems amazingly bad compared with those who came after him. PLATE--THE MEETING OF ST. JOHN AND ST. ANNA AT JERUSALEM.