tabernacles are the Madonna with a charming Infant Jesus who grasps her mantle, and St. Clare; St. Cecilia crowned with roses, and St. Lucy; St. Agnes holding a lamb, and St. Rose of Viterbo; St. Catherine, and St. Margaret with a book in her hand. The artist has used such soft harmonious colours and bordered his frescoes with such pretty medallions of saints' heads and designs of foliage that one wishes he had been given the whole church to decorate and thus saved it from its present desolate appearance. The large crucifix behind the altar, a characteristic work of that time, has been ascribed to Margaritone, Giunta Pisano, or Cimabue. It was painted, as the inscription says, by the order of the abbess Benedicta, who succeeded St. Clare and was the first to rule in the new convent, but the artist did not sign his name. The chapel of St. Agnes contains a Madonna which Herr Thode with far-seeing eyes recognises through all its layers of modern paint as Cimabue's work. There is also a much retouched, but rather charming picture of St. Clare, painted according to its inscription in 1283. She stands in her heavy brown dress and mantle, a thick cord round her waist, and on either side are scenes from her life. The small triptych of the Crucifixion on a gold ground is an interesting work by the artist of the four frescoes of the ceiling, and a nearer view of some of the peculiarities of his style is obtained. It is impossible to mistake the long slender necks, the curiously shaped ears with the upper part very long, the narrow eyes, straight noses and small mouths, sometimes drooping slightly at the corners, which he gives his figures. He is another of those nameless painters who came to Assisi in the wake of the great Florentine.