that the innovations of Giotto consisted in the introduction, A, of
gayer or lighter colours; B, of broader masses; and, C, of more
careful imitation of nature than existed in the works of his
predecessors.

[Footnote 6: It might not, I think, be a work unworthy of the Arundel
Society, to collect and engrave in outline the complete series of
these Byzantine originals of the subjects of the Arena Chapel, in
order to facilitate this comparison. The Greek MSS. in the British
Museum would, I think, be amply sufficient; the Harleian MS. numbered
1810 alone furnishing a considerable number of subjects, and
especially a Death of the Virgin, with the St. John thrown into the
peculiar and violent gesture of grief afterwards adopted by Giotto in
the Entombment of the Arena Chapel.]

A. _Greater lightness of colour._ This was partly in compliance with a
tendency which was beginning to manifest itself even before Giotto's
time. Over the whole of northern Europe, the colouring of the eleventh
and early twelfth centuries had been pale: in manuscripts, principally
composed of pale red, green, and yellow, blue being sparingly
introduced (earlier still, in the eighth and ninth centuries, the
letters had often been coloured with black and yellow only). Then, in
the close of the twelfth and throughout the thirteenth century, the
great system of perfect colour was in use; solemn and deep; composed
strictly, in all its leading masses, of the colours revealed by God
from Sinai as the noblest;--blue, purple, and scarlet, with gold
(other hues, chiefly green, with white and black, being used in points
or small masses, to relieve the main colours). In the early part of
the fourteenth century the colours begin to grow paler; about 1330 the
style is already completely modified; and at the close of the