It is known that Giotto, together with his friend Dante, died before this--Giotto's last great work--was finally constructed by Giotto's pupil, Taddeo Gaddi, and that therefore neither of the friends could have really looked on 'Giotto's Tower,' though Italian Ciceroni point out, and strangers love to contemplate, the very stone on which 'Grim Dante' sat and gazed with admiration in the calm light of evening on the enduring memorial of the painter. Giotto died in the year 1336 or 1337, his biographer adds, 'no less a good Christian than an excellent painter,' and in token of his faith he painted one crucifixion in which he introduced his own figure 'kneeling in an attitude of deep devotion and contrition at the foot of the Cross.' The good taste of such an act has been questioned, so has been the practice which painted the Virgin Mother now as a brown Italian, now as a red and white Fleming, and again as a flaxen-haired German or as a swarthy Spaniard, and draped her and all the minor figures in the grandest drama the world ever saw--as well as the characters in older Scripture histories, in the Florentine, Venetian, and Antwerp fashions of the day. The defence of the practice is, that the Bible is for universal time, that its Virgin Mother, its apostles and saints, were types of other mothers and of other heroes running down the stream of history; that even the one central and holy figure, if He may be represented at all, as the Divine brother of all humanity, may be clad not inaptly in the garments of all. It appears to me that there is reason in this answer, and that viewed in its light the criticism which constantly demands historic fidelity is both carping and narrow. I do not mean, however, to underrate historic accuracy in itself, or to depreciate that longing for completeness in every particular, which drives our modern painters to the East to study patiently for months the aspects of nature under its Oriental climate, with its peculiar people and animals, its ancient costumes and architecture. Giotto was buried with suitable honours by a city which, like the rest of the nation, has magnified its painters amongst its great men, in the church of Santa Maria del Fiore, where his master Cimabue had been buried. Lorenzo de' Medici afterwards placed over Giotto's tomb his effigy in marble. In chronicling ancient art I must here diverge a little. I have already mentioned how closely painting was in the beginning allied with working in metals as well as with sculpture and architecture. It is thus necessary to write of a magnificent work in metal, the study and admiration of generations of painters, begun in the life of Giotto, and completed in two divisions, extending over a period of nearly a hundred years. We shall proceed to deal with the first division, and recur to the second a little later.