Lafenestre, in his history of Italian painting for the Beaux-Arts of Paris already referred to, says that what has survived of Giotto's work justifies the enthusiasm of his contemporaries. None of his predecessors accomplished anything like the revolution that he worked. He fixed the destinies of art in Italy at the moment when Dante fixed those of literature. The stiff, confused figures of the mosaics and manuscripts grew supple under his fingers and the confusion disappeared. He simplified the gestures, varied the expression, rectified the proportions. Perhaps the best example of his work is that of the upper Church of Assisi, all accomplished before he was thirty. What he had to represent were scenes of life almost contemporary yet already raised to the realm of poetry by popular admiration. He interpreted the beautiful legend of the life of the Saint preserved by St. Bonaventure, and like the subject of his sketches turned to nature at every step of his work. If his figures are compared with those of the artists of the preceding generations, their truth to life and natural expressions easily explain the surprise and the rapture of his contemporaries. Beautiful as are the pictures of the Upper Church, however, ten years after their completion Giotto's genius can be seen to have taken a still higher flight by the study of the pictures on the vast ceilings of the Lower Church. The four compartments contain the Triumph of Chastity, the Triumph of Poverty, the Triumph of Obedience, and the Glorification of St. Francis. The ideal and the real figures in these compositions are mingled and grouped with admirable clearness and inventive force. To be appreciated properly they must be seen and studied _in situ_. Many an artist has made the pilgrimage to Assisi and none has come away disappointed. Never before had an artist dared to introduce so many and such numerous figures, yet all were done with a variety and an ease of movement that is eminently pleasing and even now are thoroughly satisfying to the artistic mind. After his work at Assisi some of the best of Giotto's pictures are to be found in the Chapel of the Arena at Padua. Here there was a magnificent opportunity and Giotto took full advantage of it. The whole story of Christ's life is told in the fourteen episodes of the life of his Mother which were painted here by Giotto. For their sake Padua as well as {145} Assisi has been a favorite place of pilgrimage for artists ever since and never more so than in our own time. {opp144} [Illustration] ST. FRANCIS' MARRIAGE WITH POVERTY (GIOTTO, ASSISI)