seems to me, that the two lower were done long before the others, and
afterwards united and harmonized with them. It is of no interest to the
general reader to pursue this question; but one point he can notice
quickly, that the lower frescos depend much on a mere black or brown
outline of the features, while the faces above are evenly and completely
painted in the most accomplished Venetian manner:--and another, respecting
the management of the draperies, contains much interest for us.

Giotto never succeeded, to the very end of his days, in representing a
figure lying down, and at ease. It is one of the most curious points in
all his character. Just the thing which he could study from nature
without the smallest hindrance, is the thing he never can paint; while
subtleties of form and gesture, which depend absolutely on their
momentariness, and actions in which no model can stay for an instant,
he seizes with infallible accuracy.

Not only has the sleeping Pope, in the right hand lower fresco, his
head laid uncomfortably on his pillow, but all the clothes on him are
in awkward angles, even Giotto's instinct for lines of drapery failing
him altogether when he has to lay it on a reposing figure. But look at
the folds of the Soldan's robe over his knees. None could be more
beautiful or right; and it is to me wholly inconceivable that the two
paintings should be within even twenty years of each other in date--the
skill in the upper one is so supremely greater. We shall find, however,
more than mere truth in its casts of drapery, if we examine them.

They are so simply right, in the figure of the Soldan, that we do not
think of them;--we see him only, not his dress But we see dress first,
in the figures of the discomfited Magi. Very fully draped personages
these, indeed,--with trains, it appears, four yards long, and bearers