ght Uncleanness. Poverty occupies the third space, treading on
thorns with her bare feet; behind her barks a dog, while a boy is
throwing stones at her and another is pushing thorns into her legs
with a stick. Poverty here is espoused by St Francis, while Jesus
Christ holds her hand in the mystical presence of Hope and Chastity.
In the fourth and last of these places is a St Francis in glory,
clothed in the white tunic of a deacon, in triumph and surrounded by
a multitude of angels who form a choir about him and hold a banner on
which are a cross and seven stars, while over all is the Holy Spirit.
In each of these angles are some Latin words explanatory of the
subject. Besides these four angles the paintings on the side walls
are most beautiful, and deserve to be highly valued both for the
perfection which they exhibit and because they were produced with
such skill that they are in an excellent state of preservation
to-day. These paintings contain an excellent portrait of Giotto
himself, and over the door of the sacristy is a fresco by his hand of
St Francis receiving the stigmata, so full of tenderness and devotion
that it seems to me to be the most excellent painting that Giotto has
produced here, though all are really beautiful and worthy of praise.

When S. Francesco was at length finished Giotto returned to Florence,
where he painted with extraordinary care, a picture of St Francis in
the fearful desert of Vernia, to be sent to Pisa. Besides a landscape
full of trees and rocks, a new thing in those days, the attitude of
the saint, who is receiving the stigmata on his knees with great
eagerness, exhibits an ardent desire to receive them and an infinite
love towards Jesus Christ, who is in the air surrounded by seraphim
granting them to him, the varied emotions being all represented in
the most telling manner imaginable. The predella of the picture
contains three finely executed subjects from the life of the same
saint. The work may now be seen in S. Francesco at Pisa, on a pillar
beside the high altar, where it is held in high veneration in memory
of so great a man. It led the Pisans, on the completion of their
Campo Santo from the plan of Giovanni di Niccola Pisano, as already
related, to entrust to Giotto the painting of a part of the walls.
For as the exterior of the walls was incrusted with marble and
sculptures at a great cost, the roof being of lead, and the interior
filled with antique sarcophagi and tombs of