Vasari finds no difficulty about the matter, declaring, to his own satisfaction and for the instruction of future generations, that every fresco in the apse and transepts, together with the series relating to the history of the Jews and the life of Christ, are by Cimabue. But then Cimabue was a Tuscan, and Vasari, the painter of Tuscan Arezzo, was determined to give as much glory to his fatherland as he could. We too would give all possible honour to Cimabue, but are bound to follow the opinion of later critics, who less prejudiced and hasty in their criticisms than Vasari, see the work of many hands in all these frescoes; so we have gathered together a few notes concerning them from various authorities to help the traveller to form his own ideas upon the subject. The theme is too endless to attempt in a small space to give more than a very brief summary of the chief facts. _Frescoes of the Choir and Transepts._--These may be divided into two distinct classes, those of the north transept, which are older and inferior to those of the south transept and choir. Herr Thode attributes their difference to the fact that while all are the work of Cimabue, the frescoes in the north transept were painted when he was quite young, while the rest belong to a later period, when he had attained his full powers. The Crucifixion of the north transept, one of the most ruined, reminds us somewhat of works by Margaritone which may be studied, without much pleasure, in most Italian galleries. The figures standing round the Cross are short, with small heads and large hands, and not even in the fainting Madonna is there the slightest charm. In the Martyrdom of St. Peter, on the next wall, it is curious to note the similarity of treatment to Giotto's fresco at Rome of the same subject. The Saint, head downwards upon the Cross without any group of people would have made but a dull composition; so both artists added an obelisk on either side to relieve the monotony of line. Then follows the scene of Simon Magus being borne upwards by demons with bat-like wings; and upon the next wall, beneath the triforium, is represented the death of Ananias and Sapphira, and St. Peter curing the lame before the Temple, where the figures are certainly more majestic and, according to Herr Thode, distinctly show the hand of Cimabue.