keeps his hand over the money, thus betraying his greed, avarice, and mistrust. Also the three figures in the air representing Obedience, Patience, and Poverty, who are holding up the habit of St Francis, are worthy of the highest praise, chiefly on account of the natural folds of the drapery, showing that Giotto was born to throw light on the art of painting. Finally he has introduced into this work a portrait of the Signor Malatesta in a ship, which is most life-like; and his excellence is also displayed in the vigour, disposition, and posture of the sailors and other people, particularly of one figure who is speaking with others and putting his hand to his face spits into the sea. Certainly these things may be classed among the very best works in painting produced by the master, because, in spite of the large number of figures, there is not one which is not produced with the most consummate art, being at the same time exhibited in an attractive posture. Accordingly there is small need for wonder that the Signor Malatesta loaded him with rewards and praise. When Giotto had completed his works for this Signor, he did a St Thomas Aquinas reading to his brethren for the outside of the church door of S. Cataldo at Rimini at the request of the prior, who was a Florentine. Having set out thence he returned to Ravenna, where he executed a much admired painting in fresco in a chapel of S. Giovanni Evangelista. When he next returned to Florence, laden with honours and riches, he made a large wooden crucifix in tempera for S. Marco, of more than life-size, with a gold ground, and it was put on the right-hand side of the church. He made another like it for S. Maria Novella, in which his pupil Puccio Capanna collaborated with him. This is now over the principal entrance to the church, on the right-hand side, above the tomb of the Gaddi. For the same church he made a St Louis, for Paolo di Lotto Ardinghelli, with portraits of the donor and his wife at the saint's feet. This picture is placed on the screen.