native heaven; the uppermost, namely, of the three subjects on this
side of the chapel. It is entirely characteristic of Giotto; much of it
by his hand--all of it beautiful. All important matters to be known of
Giotto you may know from this fresco.

'But we can't see it, even with our opera-glasses, but all
foreshortened and spoiled. What is the use of lecturing us on this?'

That is precisely the first point which is essentially Giottesque in
it; its being so out of the way! It is this which makes it a perfect
specimen of the master. I will tell you next something about a work of
his which you can see perfectly, just behind you on the opposite side
of the wall; but that you have half to break your neck to look at this
one, is the very first thing I want you to feel.

It is a characteristic--(as far as I know, quite a universal one)--of
the greatest masters, that they never expect you to look at them; seem
always rather surprised if you want to; and not overpleased. Tell them
you are going to hang their picture at the upper end of the table at
the next great City dinner, and that Mr. So and So will make a speech
about it; you produce no impression upon them whatever, or an
unfavourable one. The chances are ten to one they send you the most
rubbishy thing they can find in their lumber-room. But send for one of
them in a hurry, and tell him the rats have gnawed a nasty hole behind
the parlor door, and you want it plastered and painted over;--and he
does you a masterpiece which the world will peep behind your door to
look at for ever.

I have no time to tell you why this is so; nor do I know why,
altogether; but so it is.