and I think it will be first well to notice some technical points in
it.

If the little virgin on the stairs of the temple reminded you of one
composition of Titian's, this Soldan should, I think, remind you of all
that is greatest in Titian; so forcibly, indeed, that for my own part,
if I had been told that a careful early fresco by Titian had been
recovered in Santa Croce, I could have believed both report and my own
eyes, more quickly than I have been able to admit that this is indeed
by Giotto. It is so great that--had its principles been understood-there
was in reality nothing more to be taught of art in Italy; nothing to be
invented afterwards, except Dutch effects of light.

That there is no 'effect of light' here arrived at, I beg you at once
to observe as a most important lesson. The subject is St. Francis
challenging the Soldan's Magi,--fire-worshippers--to pass with him
through the fire, which is blazing red at his feet. It is so hot that
the two Magi on the other side of the throne shield their faces. But it
is represented simply as a red mass of writhing forms of flame; and
casts no firelight whatever. There is no ruby colour on anybody's nose:
there are no black shadows under anybody's chin; there are no
Rembrandtesque gradations of gloom, or glitterings of sword-hilt and
armour.

Is this ignorance, think you, in Giotto, and pure artlessness? He was
now a man in middle life, having passed all his days in painting, and
professedly, and almost contentiously, painting things as he saw them.
Do you suppose he never saw fire cast firelight?--and he the friend of
Dante! who of all poets is the most subtle in his sense of every kind
of effect of light--though he has been thought by the public to know