a finer mood than here, and comfortably visible.

For most visitors to Florence and all disciples of Ruskin, the chief
interest of the campanile ("The Shepherd's Tower" as he calls it)
is the series of twenty-seven reliefs illustrating the history of
the world and the progress of mankind, which are to be seen round the
base, the design, it is supposed, of Giotto, executed by Andrea Pisano
and Luca della Robbia. To Andrea are given all those on the west (7),
south (7), east (5), and the two eastern ones on the north; to Luca the
remaining five on the north. Ruskin's fascinating analysis of these
reliefs should most certainly be read (without a total forgetfulness
of the shepherd's other activities as a painter, architect, humorist,
and friend of princes and poets), but equally certainly not in the
American pirated edition which the Florentine booksellers are so ready
(to their shame) to sell you. Only Ruskin in his best mood of fury
could begin to do justice to the misspellings and mispunctuations of
this terrible production.

Ruskin, I may say, believes several of the carvings to be from
Giotto's own chisel as well as design, but other and more modern
authorities disagree, although opinion now inclines to the belief
that the designs for Pisano's Baptistery doors are also his. Such
thoroughness and ingenuity were all in Giotto's way, and they certainly
suggest his active mind. The campanile series begins at the west side
with the creation of man. Among the most attractive are, I think,
those devoted to agriculture, with the spirited oxen, to astronomy, to
architecture, to weaving, and to pottery. Giotto was even so thorough
as to give one relief to the conquest of the air; and he makes Noah
most satisfactorily drunk. Note also the Florentine fleur-de-lis
round the base of the tower. Every fleur-de-lis in Florence is