Upon the opposite wall the early life of the Virgin is continued with the Flight into Egypt, which bears a strong resemblance to the fresco at Padua. There is the same sense that St. Joseph, his bundle slung on a stick over his shoulder like a pilgrim, is really walking along and in a moment must disappear from sight; a palm tree bends sideways to the breeze, and above two angels seem to cleave the air as they hurriedly lead on the travellers to exile and safety. Only the Virgin sits calm and unruffled. In the Massacre of the Innocents Giotto has happily not painted the full horror of the scene, but has aimed rather at suggesting the tragedy than at giving its actual representation. Very beautiful are the women to the left mourning for their dead children. One rocks her child in her arms and tries to awaken him with her kisses, whilst another raises her hands in despair as she gazes upon the dead child upon her knees. The Return of the Holy Family from Egypt, though only showing a group of houses within surrounding walls and a gateway and a group of people, suggests better than a more complicated composition would have done the scene of a home-coming after long absence. The Preaching of the Child in the Temple completes the series, and like the one at Padua, it is the least interesting of Giotto's paintings. There are three other frescoes in the Transept which most people, with reason, attribute to Giotto, representing miracles of St. Francis. The first refers to a child of the Spini family of Florence who fell from a tower of the Palazzo Spini (now Feroni), and was being carried to the grave, when the intercession of St. Francis was invoked and he appeared among them to restore the child to life. Part of the fresco has been lost owing to the ruthless way in which the walls were cut into for the purpose of erecting an organ--a barbarous act difficult to understand. But the principal group of people are seen outside an exquisite basilica of marble and mosaic, and each figure can be studied with pleasure as they have not been mutilated by the "restorer's" usual layers of thick paint. Seldom has Giotto painted lovelier women than those kneeling in the foreground, their profiles of delicate and pure outline recalling a border of white flowers. Near them is a figure bearing so strong a resemblance to Dante, that we would fain believe that Giotto meant to represent the type of a true Florentine in a portrait of the poet. Above the staircase is a fine picture of St. Francis resting his hand upon the shoulder of a crowned skeleton "in which," says Messrs. Crowe and Cavalcaselle, "a much deeper study of anatomy is revealed than has ever been conceded to Giotto." The oval face of the saint, with clear brown colouring, is very beautiful, strongly resembling the St. Francis in glory in the fresco above the high altar. By him also is the half-length figure of Christ in the vaulting of the window.