by the advantages of seeing the light of the good style, will be compelled to hold him in the highest veneration. In the same church of S. Croce there are in addition a crucifix above the marble tomb of Carlo Marzuppini of Arezzo, Our Lady with St John and the Magdalene at the foot of the cross, and opposite on the other side of the building an Annunciation towards the high altar over the tomb of Lionardo Aretino, which has been restored by modern artists with great lack of judgment. In the refectory he has done the history of St Louis, a Last Supper, and a Tree of the Cross, while the presses of the sacristy are decorated with some scenes from the lives of Christ and of St Francis in small figures. At the church of the Carmine in the chapel of St John the Baptist he represented the whole of that saint's life in several pictures; and in the Palazzo della parte Guelfa at Florence there is the history of the Christian faith painted admirably by him in fresco, and containing the portrait of Pope Clement IV., who founded that monastery to which he gave his arms, retained by them ever since. After these works Giotto set out from Florence for Assisi in order to finish what Cimabue had begun there. On his way through Arezzo he painted the chapel of St Francis, which is above the baptistery in the Pieve there, and a St Francis and a St Dominic, portraits from life, on a round pillar near to a most beautiful antique Corinthian capital. In the Duomo outside Arezzo he decorated the interior of a large chapel with the Stoning of St Stephen, an admirable composition of figures. On completing these things he proceeded to Assisi, a city of Umbria, whither he was summoned by fra Giovanni di Muro della Marca, at that time general of the friars of St Francis. In the upper church of this town he painted a series of thirty-two frescoes of the life of St Francis, under the corridor which traverses the windows, sixteen on each side, with such perfection that he acquired the highest reputation thereby. In truth the work exhibits great variety, not only in the postures of the different figures, but in the composition of each subject, besides which it is very interesting to see the various costumes of those times and certain imitations and observations of Nature. One of the most beautiful of these represents a thirsty man, whose desire for water is represented in the most lively manner as he kneels on the ground to drink from a spring, with such wonderful reality that one might imagine him to be a real person. There are many other things most worthy of notice into which I will not enter now, because I do not wish to be tedious. Let it suffice to say that by these works Giotto acquired the highest reputation for the excellence of his figures, for his arrangement, sense of proportion, fidelity to Nature, and his innate facility which he had greatly increased by study, while in addition to this he never failed to express his meaning clearly. Giotto indeed was not so