Gainsborough. All the other Italian religious painters work out their
expression with toil; he only can give it with a touch. All the other
great Italian colourists see only the beauty of colour, but Giotto also
its brightness. And none of the others, except Tintoret, understood to
the full its symbolic power; but with those--Giotto and Tintoret--there
is always, not only a colour harmony, but a colour secret. It is not
merely to make the picture glow, but to remind you that St. Francis
preaches to a fire-worshipping king, that Giotto covers the wall with
purple and scarlet;--and above, in the dispute at Assisi, the angry
father is dressed in red, varying like passion; and the robe with which
his protector embraces St. Francis, blue, symbolizing the peace of
Heaven, Of course certain conventional colours were traditionally
employed by all painters; but only Giotto and Tintoret invent a
symbolism of their own for every picture. Thus in Tintoret's picture of
the fall of the manna, the figure of God the Father is entirely robed
in white, contrary to all received custom: in that of Moses striking
the rock, it is surrounded by a rainbow. Of Giotto's symbolism in
colour at Assisi, I have given account elsewhere. [Footnote: 'Fors
Clavigera' for September, 1874.]

You are not to think, therefore, the difference between the colour of
the upper and lower frescos unintentional. The life of St. Francis was
always full of joy and triumph. His death, in great suffering,
weariness, and extreme humility. The tradition of him reverses that of
Elijah; living, he is seen in the chariot of fire; dying, he submits to
more than the common sorrow of death.

There is, however, much more than a difference in colour between the upper
and lower frescos. There is a difference in manner which I cannot account
for; and above all, a very singular difference in skill,--indicating, it