the most notable events. And in the space that is round the windows, up
to the point where they end in the gallery that encircles the interior
of the wall of the church, he painted the remainder of the Old Testament
in eight other scenes. And opposite this work, in sixteen other scenes
corresponding to these, he painted the acts of Our Lady and of Jesus
Christ. And on the end wall over the principal door, and round the rose
window of the church, he made her Ascension into Heaven and the Holy
Spirit descending on the Apostles. This work, truly very great and
rich and most excellently executed, must have, in my judgment, amazed
the world in those times, seeing, above all, that painting had lain so
long in such great darkness; and to me, who saw it again in the year
1563, it appeared very beautiful, thinking how in so great darkness
Cimabue could see so great light. But of all these pictures (and to this
we should give consideration), those on the roof, as being less injured
by dust and by other accidents, have been preserved much better than the
others. These works finished, Giovanni put his hand to painting the
lower walls--namely, those that are from the windows downwards--and made
certain works upon them, but being called to Florence on some business
of his own, he did not carry this work further; but it was finished, as
will be told in the proper place, by Giotto, many years afterwards.

[Illustration: _Anderson_

"ISAAC'S BLESSING"

(_After the fresco of the_ Roman School. _Assisi: Upper Church of S.
Francesco_)]

[Illustration: _Anderson_

THE DEPOSITION FROM THE CROSS

(_After the fresco by_ Pietro Laurati [Lorenzetti]. _Assisi: Lower
Church of S. Francesco_)]

Having returned, then, to Florence, Cimabue painted in the cloister of
S. Spirito (wherein there is painted in the Greek manner, by other
masters, the whole side facing the church) three small arches by his own
hand, from the life of Christ, and truly with much design. And at the
same time he sent certain works wrought by himself in Florence to
Empoli, which works are still held to-day in great veneration in the
Pieve of that township. Next, he made for the Church of S. Maria Novella
the panel of Our Lady that is set on high between the Chapel of the
Rucellai and that of the Bardi da Vernia; which work was of greater size
than any figure that had been made up to that time. And certain angels
that are round it show that, although he still had the Gr