_Left Transept._--To Pietro Lorenzetti was given the work of decorating these walls with scenes from the Passion, and so far as completing the rich colour of the church be succeeded. But when studied as separate compositions they betray the weakness of an artist who, as Mr. Berenson remarks, "carries Duccio's themes to the utmost pitch of frantic feeling." Great prominence is given to the subject of the crucifixion where the vehement actions of the figures rather than the nobility of the types are pre-eminent. It may be of interest to some that the man on the white horse is said to be Gualtieri, Duke of Athens, the tyrant of Florence, whose arms Vasari says he discovered in the fresco which he describes as the work of Pietro Cavallini. A curious composition is that on the opposite wall where the disciples sit in awkward attitudes and the servants in the kitchen are seen cleaning the dishes while a dog hastily licks up the scraps. It would be difficult to know this represented a religious scene were it not for the large aureoles of the apostles. Nor has Pietro succeeded in giving solemnity to the scene of the Stigmata, where the strained position of St. Francis and the agitated movement of the Seraph partake of the general characteristics of these frescoes. But in his Madonna, St. Francis and St. John the Evangelist, below the crucifixion, Pietro Lorenzetti gives his very best and their faces we remember together with the saints of Simone Martini. Referring to this fresco M. Berenson says: "At Assisi, in a fresco by Pietro, of such relief and such enamel as to seem contrived of ivory and gold rather than painted, the Madonna holds back heart-broken tears as she looks fixedly at her child, who, Babe though he is, addresses her earnestly; but she remains unconsoled."[86] _Chapel of S. Giovanni Battista._[87]--Another lovely work by Pietro Lorenzetti is the triptych over the altar, the Madonna, St. Francis and St. John the Baptist, but here the action of the child leaning towards the Virgin and holding the end of her veil, is more caressing and suggestive of babyhood. Above are small heads of angels like those Pietro places in medallions round the frescoes in the south transept. This, and the panel picture over the altar in the opposite chapel, complete the works of the Sienese school in Assisi. The Umbrian school is represented by a large and unsympathetic picture by Lo Spagna (dated 1526), which is however considered by local admirers of the painter to be his masterpiece. It is a relief to turn from his yellow-eyed saints and hard colouring to the windows of this chapel which are remarkable for their harmony and depth of tone.[88] The figures of the central window date from the second half of the thirteenth century, those of the left window are at least two centuries later.