the tassels of the cushion, and the way they blend with the fringe,
thoroughly; you cannot possibly see finer ornamental sculpture. Then,
look at the same tassels in the same place of the slab next the west
end of the church, and you will see a scholar's rude imitation of a
master's hand, though in a fine school. (Notice, however, the folds of
the drapery at the feet of this figure: they are cut so as to show the
hem of the robe within as well as without, and are fine.) Then, as you
go back to Giotto's chapel, keep to the left, and just beyond the north
door in the aisle is the much celebrated tomb of C. Marsuppini, by
Desiderio of Settignano. It is very fine of its kind; but there the
drapery is chiefly done to cheat you, and chased delicately to show how
finely the sculptor could chisel it. It is wholly vulgar and mean in
cast of fold. Under your feet, as you look at it, you will tread
another tomb of the fine time, which, looking last at, you will
recognize the difference between the false and true art, as far as
there is capacity in you at present to do so. And if you really and
honestly like the low-lying stones, and see more beauty in them, you
have also the power of enjoying Giotto, into whose chapel we will
return to-morrow;--not to-day, for the light must have left it by this
time; and now that you have been looking at these sculptures on the
floor you had better traverse nave and aisle across and across; and get
some idea of that sacred field of stone. In the north transept you will
find a beautiful knight, the finest in chiselling of all these tombs,
except one by the same hand in the south aisle just where it enters the
south transept.

Examine the lines of the Gothic niches traced above them; and what is
left of arabesque on their armour. They are far more beautiful and
tender in chivalric conception than Donatello's St. George, which is
merely a piece of vigorous naturalism founded on these older tombs. If