marvellous instance of the swift change of metaphor into tradition; but
assuredly, and beyond dispute, one of the most influential,
significant, and instructive traditions possessed by the Church of
Christ. And, that, if ever soul rose to heaven from the dead body, his
soul did so rise, is equally sure.

And, finally, Giotto believed that all he was called on to represent,
concerning St. Francis, really had taken place, just as surely as you,
if you are a Christian, believe that Christ died and rose again; and he
represents it with all fidelity and passion: but, as I just now said,
he is a man of supreme common sense;--has as much humour and clearness
of sight as Chaucer, and as much dislike of falsehood in clergy, or in
professedly pious people: and in his gravest moments he will still see
and say truly that what is fat, is fat--and what is lean, lean--and
what is hollow, empty.

His great point, however, in this fresco, is the assertion of the
reality of the stigmata against all question. There is not only one St.
Thomas to be convinced; there are five;--one to each wound. Of these,
four are intent only on satisfying their curiosity, and are peering or
probing; one only kisses the hand he has lifted. The rest of the
picture never was much more than a grey drawing of a noble burial
service; of all concerned in which, one monk, only, is worthy to see
the soul taken up to heaven; and he is evidently just the monk whom
nobody in the convent thought anything of. (His face is all repainted;
but one can gather this much, or little, out of it, yet.)

Of the composition, or "unity and harmony of the whole," as a burial
service, we may better judge after we have looked at the brighter
picture of St. Francis's Birth--birth spiritual, that is to say, to his