Francis. But the mountain-born painter, impervious to such influences, kept his faith pure amidst the turmoil and unrest; and much as he admired the saint (it is said he belonged to the Third order), he looked upon his teaching from the practical point of view and was by no means carried away by the poetical manner in which it had been presented to the people. Nothing shows the mind and character of Giotto so plainly as some lines he wrote on poverty, most likely after painting his famous Allegories when he had an opportunity to observe how little the manners and customs of mediaeval monks corresponded with the spirit of their founder. Every line of the poem is full of common sense and knowledge of human frailty. Many, Giotto remarks somewhat sarcastically, praise poverty; but he does not himself recommend it as virtue is seldom co-existent with extremes; and voluntary poverty, upon which he touches in a few caustic lines, is the cause of many ills, and rarely brings peace to those who have chosen her as a mate and who too often study how to avoid her company; thus it happens that under the false mantle of the gentlest of lambs appears the fiercest wolf, and by such hypocrisy is the world corrupted.[75]

[Ill.u.s.tration: THE MARRIAGE OF ST. FRANCIS WITH POVERTY (D. ANDERSON--_photo_)]

Giotto, an artist before he was a moralist, undertook to carry out the wishes of his patrons, and thought only how he could best fill the triangular s.p.a.ces of the ceiling with the figures of saints and angels. It was by no means an easy task, but Giotto succeeded so well that these four frescoes are reckoned among his masterpieces and the wonders of the thirteenth century. They certainly show a marked advance upon the earlier works in the Transept, but they lack the power and a.s.surance of those in the Upper Church, where the youthful painter all but reached the zenith of his fame.

_The Marriage of St. Francis and Poverty._[76]--In this fresco Giotto has represented three incidents, but just as they all refer to one subject, so do the figures form a perfect harmony, faultless as decoration and beautiful as a picture. A youth, imitating the charity of St. Francis to whom his guardian angel is pointing, is seen on the left giving his cloak to a beggar, while upon the other side, a miser clutching his money-bag and a youth with a falcon on his gloved hand refuse to listen to the good suggestions of an angel and of the friar who stands between them. The lines of decoration are further carried out by the two angels who fly up carrying a temple with an enclosed garden, perhaps symbolising Charity, and a franciscan habit, which may be the symbol of Obedience. But these are details and the eye does not rest upon them, but rather is carried straight into the midst of a court of attendant angels where Christ, standing upon a rock, gives the hand of St. Francis to the Lady Poverty, who slightly draws away as if in warning of the hardships and disillusions in store for him who links his life with hers. Cold and white, her garments torn by a network of accacia thorns, she is indeed the true widow of Christ, who, after His death as Dante says,

"... slighted and obscure Thousand and hundred years and more, remain'd Without a single suitor, till he came."[77]

The bridesmaids, Hope pointing to the sky, and Charity holding a heart and crowned with flowers that start into tiny flames, come floating out of the choir of angels towards the pale bride whose veil is bounded only by her hair. Heedless of the children of earth, who encouraged by the barking of a dog, press the thorns still deeper into her flesh, she gazes at St. Francis, and shows him the pink and white roses of paradise and the Madonna lilies which are flowering behind her wings.

_Chast.i.ty._--The different stages of perfection in the religious life are portrayed in this allegory. To the left St. Francis welcomes three aspirants to the order--Bernard of Quintavalle--typifying the franciscans; St. Clare--the Second Order; and one, who is said to be the poet Dante, in the near foreground in a florentine dress of the period--the Third Order. Two angels in the central group impose hands and pour the purifying water upon the head of a youth standing naked in a font, and two other angels bend forward with the franciscan habits in their hands, while leaning over the wall of the fortress are two figures, one presenting the banner of purity the other the shield of fort.i.tude to the novice. On either side stands a grey-bearded, mail-clad warrior, lash and shield in hand to denote the perpetual warfare and self-mortification of those who follow St. Francis. To the right three youthful warrior-monks, beautiful of feature, bearing the signs of the Pa.s.sion in their hands, aided by one in the garb of a Penitent with angels' wings, are chasing away the tempting spirits of the flesh from the rocks about the fortress into the abyss below. The winged boar falls backwards, followed by a demon and a winged skeleton emblematic of the perpetual death of the wicked, while poor blindfolded Love writhes beneath the lash of Penitence. But just as he is about to spring down with the rest, his string of human hearts still slung across his shoulders, he s.n.a.t.c.hes up a sprig of roses from the rocks.

Above, out of a walled enclosure guarded at each end by towers like every mediaeval castle on the hills about Italian towns, rises a crenulated fortress. At the open window of the magnificent central tower is seen Chast.i.ty, veiled and in prayer as if unconscious of the scene below, her vigilance typified by the bell o'erhead. She appears to be reading, by the light of a taper, from the open book held before her by an angel, while another is bringing her the palm of sanct.i.ty.

They are no longer Giotto's bird-like creations, but stately messengers with splendid human forms uplifted by outstretched wings their garments brought into long curved lines by the rapidity of their flight.

_Obedience._--Under an open _loggia_ sits the winged figure of Obedience in the habit of a franciscan, holding his finger to his lips as he places a wooden yoke (symbol of obedience) upon the neck of a kneeling friar. Prudence, with double face, holding a gla.s.s mirror and a compa.s.s, and Humility, with her lighted taper to illumine the path to paradise, are seated on either side, perhaps to show that he who imposes obedience upon others must be prudent and humble himself. An angel upon the right is pointing these virtues out to a centaur (symbolizing pride, envy and avarice), who, thrown back upon his haunches by a ray of light from the mirror of Prudence, is thus stopped from tempting away the young novice kneeling on the opposite side, encouraged in his act of renunciation by the angel who holds him firmly by the wrist. Two divine hands appear from the clouds above and are holding St. Francis by his yoke, while two angels unroll the rules of his order.

_The Glory of St. Francis._--The throng of fair-haired angels, seem, as they move towards the throne of the saint and press around it, to be intoning a hymn of perpetual praise and jubilation. Their figures, against the dull gold background, are seen white and strong, with here and there a touch of mauve or pale blue in their garments bringing out more distinctly the feeling of light and joyousness. The perpetual movement of the heavenly choir, some blowing long trumpets, others playing on flutes and tambourines, while many gaze upwards in silent prayer as they float upon the clouds, contrasts strangely with the stiff and silent figure of St. Francis, who in his robe of gold and black brocade, a brilliant light behind him, looks like some marvellous eastern deity, recalling Dante's words of how he

"... arose A sun upon the world, as duly this From Ganges doth: ..."

In the dimness of the cave-like church built to serve the purpose of a tomb and keep men's ideas familiar with the thought of death, these frescoes are glimpses into the heaven of the blest. Watch them at all hours of the day and there will be some new wonder to be noted, a face among the crowd which seems fairer than the rest, or, as the sunshine moves across, a flash of colours in an angel's wing like the sudden coming of a rainbow in a cloudy sky. And who shall forget the strange play of fancy as the candle light, during an afternoon service, mingles with the strong sunshine upon the white figures of saints and the whiter figure of the Lady Poverty, who appear to move towards us from amidst a blaze of golden clouds, until gradually as the evening closes in and the candles go out one by one, they are set once more in the shadow of their backgrounds like so many images of snow.

_La Capella del Sacramento, or the Chapel of St. Nicholas._--Giotto left one scholar at a.s.sisi whose work it is easy to discover, but who, as far as name and personality are concerned, is unknown, and shares in the general mystery which surrounds both the builders and painters of San Francesco. All we know is that he followed his master's style and great laws of composition even more closely than Taddeo Gaddi, and that he possessed much charm and originality. By the kind help of Mr Bernhard Berenson we have been able to group together some of the works of this interesting artist, who was evidently working at a.s.sisi between 1300 and 1310 when he executed the last nine frescoes of the Upper Church ill.u.s.trating the death and the miracles of St. Francis, decorated the Capella del Sacramento in the Lower Church with the legend of St. Nicholas, and painted a fine Crucifixion in the Confraternity of San Rufinuccio (see chap. x). There is a very delightful panel picture also by him in the corridor of the Uffizzi (No. 20 in the corridor), with eight small scenes from the life of St.

Cecilia.

In a fresco over the arch on the inside of the Capella del Sacramento are portraits of the donors of the chapel, Cardinal Napoleone Orsini, who is being presented to Christ by St. Francis, and his younger brother Giovanni (below him is written Dns Jons Gaeta.n.u.s frater ejus), presented by St. Nicholas. It helps to date the decoration of the chapel, for we know that Giovanni Orsini received the cardinal's hat in 1316, while here he is represented in the white dress of a deacon confirming the general opinion that these frescoes must have been painted before that date.[78]

St. Nicholas of Myra, generally known as St. Nicholas of Bari, both during his life and after his death was forever coming to the a.s.sistance of the oppressed; he did not even object to be the patron saint of drunkards and thieves, as well as of maiden virtue. He can easily be recognised in art by the three purses or golden b.a.l.l.s which are always placed at his feet, in reference to the first kind action he performed when a wealthy young n.o.ble. This incident is charmingly recorded in the chapel upon the right wall near the entrance. Three sleeping maidens are lying by their father's side, and St. Nicholas, who has heard of their poverty, throws in three bags of gold as he pa.s.ses by the open window. This charitable deed has made him a famous saint; when Dante is in Purgatory he hears the spirit of Hugh Capet recounting various acts of virtuous poverty and generosity, among which

"... it spake the gift Of Nicholas, which on the maidens he Bounteous bestow'd, to save their youthful prime Unblemish'd...."

Below (the picture immediately beneath is entirely obliterated) is a very beautiful composition, recalling the same artist's treatment of St. Clare and her nuns in the Upper Church. In front of a Gothic chapel of white and black marble stands St. Nicholas, between two placid and portly friars, listening to the pet.i.tion of a despairing father who implores his protection for his three sons, unjustly condemned to death by a wicked consul. The figures of the prisoners, with halters round their necks, followed by sympathising friends, are full of movement and life; St. Nicholas is particularly charming, dressed in his episcopal robes, slightly bending forward and listening attentively to the doleful tale.[79]

The legend is continued upon the opposite side, where he arrives just in time to save the youths. The figure of the kneeling victim expecting the blow every moment to fall upon his neck and the majestic att.i.tude of the saint in the act of seizing the sword, are finely rendered, but Giotto would hardly have approved of the complicated building decked with much superfluous decoration which is supposed to represent the city gate.

The fres...o...b..low relates a vision of the Emperor Constantine who had ordered his three generals, unjustly accused of treason, to be put to death. St. Nicholas appears and commands him to release the prisoners, who are in a wooden cage by the bed.

High up in the lunette of this wall is an interesting fresco referring to a humorous incident of one of the saint's miracles. It appears that a Jew, hearing that St. Nicholas gave special protection to property, placed a statue of him in his house; but it must be remembered that St. Nicholas was also the patron of thieves, and one day all the Jew's possessions disappeared. Enraged by the failure of his plan he administered a sound thrashing to the statue, which stands in a beautiful niche with spiral columns, behaving much in the same way as the childish sons of faith in Southern Italy who turn the Madonna's picture to the wall when their prayers have not been effectual. In this case St. Nicholas was so deeply offended that he appeared in a vision to the thieves, who kindly restored the goods of the irate Jew.

There are dim remains of frescoes on this wall, but it is impossible to make out what they represent. Other wonderful miracles are related upon the opposite side, beginning high up in the lunette, where, with some difficulty, we distinguished St. Nicholas restoring a child to life who has been taken from his parents and killed by evil spirits.

Below is a scene in a banqueting hall, where a king, seated at table, takes a goblet of wine from the hand of a slave boy. St. Nicholas, in full episcopals, performs one of his many aerial flights, lays his hand upon the boy's head and carries him back to his parents. In the scene beneath St. Nicholas is restoring to his people another youth, who, it seems, was nearly drowned while filling a goblet with water for the altar of St. Nicholas; or it may be the continuation of the preceding legend, and show the home-coming of the captive boy from the king's palace. It is one of the most charmingly rendered of the series; the impetuous action of the mother rising with outstretched arms to welcome her son, and the calm dignity of the father's embrace, are almost worthy of Giotto himself. A small dog bounds forward to add his welcome to the others, while St. Nicholas surveys the scene with great gravity, every line of his figure denoting dignity, power and repose.

On one side of the arched entrance to the chapel is a fresco of St.

Mary Magdalen, on the opposite side is St. John the Baptist, and in the vaulting of the arch, on the right, are St. Anthony of Padua with St. Francis; St. Albino with St. George; St. Agnes holding a lamb, perhaps the most graceful of the figures, with St. Cecilia crowned with roses. Opposite are St. Rufino and St. Nicholas holding a book; St. Sabino and St. Vittorino, both a.s.sisan martyrs; and St. Claire with St. Catherine of Alexandria. But the quality of this artist will be only half realised if the single figures of the apostles on the walls below the scenes from the life of Nicholas are overlooked. Very grave and reposeful they lend an air of great solemnity to the chapel, and as Messrs. Crowe and Cavalcaselle remark, they are "after those of Giotto in the Ciborium of Rome, the most admirable that were produced in the early times of the revival...."

It is as difficult to explain why the Chapel of St. Nicholas possesses so much charm, as it is to understand why people seldom spend more than sufficient time to read the few lines in their guide-book about it and verify for themselves that the frescoes are there; but perhaps when some fifty frescoes by Giotto have to be realised in about an hour, which is the time usually devoted to them by the visitor to a.s.sisi, it is not surprising that Giotto's follower, the closest and the best he ever had, should be neglected.

The stained gla.s.s windows, remarkable rather for their harmony than for their depth of tone, belong also to the early part of the fourteenth century, and are decorated with the Orsini arms. On the left side of the central window is a charming design of St. Francis in a rose-coloured mantle, recommending to Christ the young Giovanni Gaetano Orsini, who is said to be buried in the chapel. His monument behind the altar, erected soon after his death in 1347, is, according to Vasari, the work of Agostino da Siena, a pupil of Giovanni Pisano.

Very calm and youthful-looking the Cardinal lies at full length in long folded robes while two angels guard his slumbers.

There is yet another treasure in St. Nicholas' Chapel; a lovely picture on panel of the Virgin and saints (rather difficult to see as it is against the light over the altar), by a Sienese artist who possesses some of Simone Martini's talent of depicting ethereal and serene Madonnas.

_The Chapel of St. Maria Maddalena._--According to a legend given by Padre Angeli the chapel was built and consecrated by St. Bonaventure while General of the franciscan order towards the end of the thirteenth century. The three frescoes on the left wall certainly belong to Giotto's time, and if not actually painted by him they appear to be from his designs, and not merely copies of the Paduan frescoes which they resemble. Above the frescoes of the Raising of Lazarus and the Anointing of Christ's feet is the Communion of the Magdalen, rendered with such simplicity yet with so much religious feeling and solemnity that we realise it is indeed the last communion of the saint on earth. The att.i.tude of the priest, the splendid drapery of the man in orange-coloured garments, and the way in which the figure of the saint being carried by angels to heaven completes the composition, bear unmistakably the impress of Giotto's style before the Paduan period (1206).

The "Noli mi Tangere" upon the opposite wall may also have been designed by him, but the type of the faces are heavier than his, and the angels are no longer swift spirits of the heavens ending in flame and cloud.

The painter, as if wishing to remind the faithful of the new life symbolised in the resurrection of Christ, has covered the rocks and ground with flowering rosebushes and exquisitely designed tufts of ferns and leaves.

The story of the Prince and Princess of Ma.r.s.eilles is a favourite subject with the Giottesque school. The legend tells that when Mary Magdalen arrived at Ma.r.s.eilles with Lazarus and Martha, she met a prince and his wife who were praying to the G.o.ds for a son, and she persuaded them to pray instead to the G.o.d of the Christians. Their desire was granted, and they were converted, but evidently being of a cautious turn of mind, they resolved to sail at once for Jerusalem and find out if St. Peter's teaching agreed with that of the Magdalen. On the way a terrible storm arose, and during the tempest the princess gave birth to a son, and died. The sailors insisted that her body must be thrown overboard or the storm, they said, would not abate; at last the prince was forced to lay the body of his wife upon a rocky island in the midst of the ocean, and calling upon Mary Magdalen for help, he left the child wrapt in the cloak of its dead mother by her side and continued the journey to the Holy Land. His visit to St. Peter ended in his complete conversion, and upon his return to France he stopped at the rocky island where he found his wife and son alive and well, thanks to the prayers of St. Mary Magdalen. They returned to Ma.r.s.eilles, the vessel being guided by angels, and the whole town became Christian.

Above the arch facing the altar is a very charming fresco of the Magdalen standing at the entrance of a cave, her hair falling like a mantle of cloth of gold about her, to receive the gift of a garment from a charitable hermit who had heard of her life of austerity and privation among the mountains of Provence.

The single figures of St. Clare, St. Mary Magdalen and St. Rufino, as well as the saints in the vaulting opposite the altar, no longer follow Giotto's designs and are far inferior to the other frescoes.

Teobaldo Pontano, Bishop of a.s.sisi between 1314 and 1329, is supposed to be the kneeling figure at the feet of St. Rufino as donor of the chapel. It is so unlikely Giotto should have repeated his later Paduan designs in a feebler manner, as seen here, or that a pupil should have slavishly copied them, that it seems more probable the chapel dates from the time of St. Bonaventure, when its decoration may have been begun by Giotto and completed by some later Florentine follower called in by the bishop who desired to be buried here. The Pontano arms decorate the beautiful stained gla.s.s windows, which certainly date from the first half of the fourteenth century, and are the finest in the Lower Church with the exception of those in St. Martin's chapel. Each figure has a claim on our admiration, but especially lovely is the figure of the Magdalen whose hair falls to her feet in heavy waves of deepest gold. In the last division of the right window is the death of the saint, with the lions at her feet which are supposed to have dug her grave.

_The Chapel of St. Antonio di Padova._--Built by the a.s.sisan family of Lelli in the fourteenth century, it was once ornamented by Florentine frescoes of the same date which were destroyed when the roof fell in, and it has now nothing of interest save the windows. These contain some nave scenes from the life of St. Anthony; among them may be noticed his preaching to the fish which raise their heads above the water to listen.

_Chapel of San Stefano._--This like the last, has only very decadent frescoes by Adone Doni and is solely interesting for its windows (second half of fourteenth century), where below the symbols of the Evangelists are single figures of saints, among them King Louis and the royal Bishop of Toulouse. Cardinal Gentile di Montefiore, founder of the chapel of S. Martino, was also the donor of this one and is represented in the right window with his crest, a tree growing out of a blue mound against an orange background.

_The Chapel of St. Catherine, or Capella del Crocifisso._--This chapel was built by order of Cardinal Albornoz towards the end of the fourteenth century when on his pa.s.sage through Umbria to reconquer the rebellious cities for the Roman Pontiff. He conceived at a.s.sisi so great a love for the memory of St. Francis that he desired to be buried there; but though his body was brought to a.s.sisi from Viterbo where he died in 1367, it was afterwards carried to his bishopric at Toledo "at small expense," writes an economical chronicler, "upon men's shoulders"; only a cardinal's hat, suspended from the roof of the chapel, now remains to remind us of the warlike Spanish prelate.

The frescoes here have been a.s.signed to that mythical person Buffalmaco, of whom Vasari relates such humorous tales. All we can say is that they belong to the second half of the fourteenth century and are not very pleasing scenes from the life and martyrdom of St.

Catherine of Alexandria, with a fresco of Cardinal Albornoz receiving consecration from a pope under the auspices of St. Francis. The windows are the first things to shine out amidst the gloom as one enters the Lower Church. Especially attractive are the figures of St.

Francis and St. Clare, their cloaks of the colour of a tea-rose, and of the other saints in green and russet-brown standing in a frame of twisted ribbons tied in bows above their heads. Unfortunately the gla.s.s has been repaired in some places by careless modern workers and we see such strange results as the large head of a bearded man upon the body of St. Catherine, high up in the left hand window.

[Ill.u.s.tration: THE OLD CEMETERY OF SAN FRANCESCO]

_The Chapel of St. Anthony the Abbot._[80]--About 1367 two monuments were erected in this chapel over the sepulchres of two murdered princes--Messer Ferdinando Blasco, nephew of the Cardinal Albornoz, and his son Garzia. Some say they met their death at Spoleto where the father was vice-governor, others that they were killed at a.s.sisi close to the convent of S. Appolinare by the citizens before they submitted to the kindly rule of the Cardinal. The chapel had been built by a liberal a.s.sisan gentleman who also left money for its decoration; but if there were paintings (Vasari mentions some by Pace di Faenza) nothing now remains but a rather feeble picture by a scholar of Pinturicchio. The white stone monuments, the white-washed walls and the total absence of colour gives an uncared-for look to this out-of-the way corner of the church. A much brighter spot is the old cemetery opening out of this chapel, which was built in the fourteenth century with the intention of adorning it with frescoes in imitation of the Campo Santo at Pisa. The double cloister seen against a background of cypresses and firs, above which rises the northern side of the Basilica, form a pretty group of buildings, and can be better enjoyed now than in former days, when the bones of a.s.sisan n.o.bles and franciscan friars were piled in the open galleries.

The Basilica of San Frances...o...b..came the burial place, not only of some of the saint's immediate followers, but also of many distinguished personages. The large stone tomb at the end of the church is always pointed out as that of "Ecuba," Queen of Cyprus, who is said to have come to a.s.sisi in 1229 to give thanks for having been cured of an illness by the intercession of St. Francis, when she gave the porphyry vase full of ultramarine which is still to be seen, though now empty of its precious contents. She is said to have died in 1240, and to have been buried in San Francesco. But this "Ecuba" is a mysterious person not to be found in the history of her country, which has led some writers to say that it is Iolanthe, the second wife of Frederick II, who lies here. It is one of those tombs common in the time of Giovanni Pisani, but bearing only a faint resemblance to his masterpiece in the Church of San Domenico in Perugia. "On one side,"

says Vasari, in surprise at the novelty of the style, "the Queen, seated upon a chair, places her right leg over the left in a singular and modern manner, which position for a lady is ungraceful, and cannot be regarded as a suitable action for a royal monument."

The tomb to the right was erected soon after 1479 in memory of Niccol Specchi, an a.s.sisan physician of renown attached to the persons of Eugenius IV, and Niccol V.

_Tomb of St. Francis._--Although it had always been supposed that St.

Francis lay beneath the high altar, no one knew precisely the spot where Elias had hidden him. In the last centuries many attempts were made to find the tomb by driving galleries in every direction into the bed of rock on which the Basilica stands;[81] but all failed, until more energetic measures were taken in 1818. And after fifty nights of hard work, conducted with the greatest secrecy (it would seem as though the spirit of Elias still presided over the workers), below the high altar, encased in blocks of travertine taken from the Roman wall near the temple of Minerva, and fitted together neatly as those of an Etruscan wall, was found the sepulchral urn of St. Francis. It was evidently the same in which he had been laid in the Church of San Giorgio, untouched till that day. Round the skeleton were found various objects, placed, perhaps, by the a.s.sisans, who in this seem to have followed the custom of their earliest ancestors, as offerings to the dead. There were several silver coins, amongst them some of Lucca of 1181 and 1208, and a Roman ring of the second century, with the figure of Pallas holding a Victory in her right hand engraved on a red cornelian. Five Umbrian bishops, four cardinals, numberless priests and archaeologists visited the spot to verify the truth of the discovery, and finally published the tidings far and wide, which brought greater crowds than ever to a.s.sisi, and among them no less a personage than the Emperor Francis I, of Austria. Donations poured in for building a chapel beneath the Lower Church round the saint's tomb, and in six months the work was completed by Giuseppe Brizzi of a.s.sisi.

The citizens, in their zeal, decorated it with marble altars and statues, until the tradition treasured by the people of a hidden chapel below the Basilica and rivalling it in richness was almost realised, and they flocked down the dark staircases with lighted torches to witness the accomplishment of the legends weaved by their forefathers (see p. 136). It is a most impressive sight to attend ma.s.s here with the peasants in early morning ere they go forth to their work in the fields. Silently they kneel with bowed heads near the tomb, touching it now and again through the grating with their rosaries; the acolytes move slowly about the altar and the voices of the priests are hushed, for here at least all feel the solemnity of a religious rite. The candles burn dimly with a smoky flame, the sanctuary lamps cast a flickering red light upon the marble pavement and the walls cut out of the living rock, and with the darkness which seems to press around is the damp smell, reminding us that we are indeed in the very bowels of the a.s.sisan mountain.

FOOTNOTES:

[73] There are only the most meagre sc.r.a.ps of information to rely upon as to the dates of Giotto's works at San Francesco, and it is needless here to enter into the endless discussion. One thing is obvious; the a.s.sisan frescoes must have been executed before those at Padua which have always been a.s.signed to 1306. In these pages we have sometimes followed the view held by Messrs. Crowe and Cavalcaselle, sometimes that of Herr Thode, who appears to have studied the question with open eyes, but our final authority is M. Bernhard Berenson, who in a visit paid lately to a.s.sisi was kind enough to point out many things which we should otherwise have pa.s.sed by, and in the sequence of the frescoes by Giotto at San Francesco we have entirely followed his opinion.

[74] For Simone Martini's Madonna and Saints between the two chapels of this transept, see p. 212. The portraits (?) of some of the first companions of St. Francis, painted beneath Cimabue's fresco, belong to the Florentine school. It would be vain to try and name them.

[75] See Vasari, ed. Milanesi, vol. i. p. 426. (Sansoni Firenze.)

[76] It is often supposed that Giotto took the theme of this fresco from the well-known lines of Dante referring to the mystical marriage of St. Francis to Poverty. But Dante wrote the xi. canto of the _Paradiso_ long after Giotto had left a.s.sisi; both painter and poet really only followed the legend recounted by St. Bonaventure of how St. Francis met three women who saluted him on the plain of S. Quirico near Siena. These were Poverty, Charity and Obedience.

[77] _Paradiso_, xi., Cary's translation.