Giotto, in his fresco, has to represent the most important event in the life of the saint--his arrival at the papal court when he comes face to face with one of the greatest of the Roman Pontiffs; and by the simplest possible means the scene is brought before us. Here are no crimson-robed cardinals, no gilded papal throne; the bishops grouped behind Innocent are hardly noticed, or even the brethren who, with hands clasped as though in prayer, press closely to their leader like a flock of sheep round their shepherd. The eye is so fixed upon the two central figures, that all else fades away. Giotto has seized the supreme moment when the Pope, having overcome his fear lest St. Francis should falter in a life of poverty and prove to be only another heretical leader of which Italy had already too many, is, with kingly gesture, giving the Umbrian penitent authority to preach throughout the land. St. Francis, holding out his hand to receive his simple Rule, now bearing the papal seals, looks up with steady gaze; he is the most humble among men kneeling at the feet of Rome's sovereign, but strong in love, in faith and in knowledge of the righteousness of his mission. M. Paul Sabatier has beautifully illustrated the meaning of Giotto when he writes: "On pourrait croire que le peintre avait trempé ses lèvres dans la coupe du Voyant Calabrais [Joachim de Flore] et qu'il a voulu symboliser dans l'attitude de ces deux hommes la rencontre des représentants de deux âges de l'humanité, celui de la Loi et celui de l'Amour." 8. _Vision of the Friars at Rivo-Torto._ "Now while the brethren abode in the place aforesaid, the holy man went on a certain Saturday into the city of Assisi, for he was to preach on the Sunday morning in the Cathedral Church. And being thus absent in body from his children, and engaged in devout prayer to God (as was his custom throughout the night), in a certain hut in the canon's garden, about midnight, whilst some of the brethren were asleep and others watching in prayer, a chariot of fire, of marvellous splendour, was seen to enter the door, and thrice to pass hither and thither through the house; ..." Giotto's was not a nature to find much enjoyment in the portrayal of such events as saints being carried aloft in fiery chariots, and in dealing with this miracle he dedicated all his power to representing the astonishment of the brethren who witness the vision at Rivo-Torto. Two talk together and point to St. Francis being borne across the heavens by crimson horses, one hastens to awaken his companions who are huddled together in their hut like tired dogs asleep, and another starts from his slumbers to hear the wondrous news. 9. _Vision of Brother Pacifico._