of the walls at the sides
of the high-altar, and all the four angles of the vaulting above in the
place where lies the body of S. Francis; and all with inventions both
fanciful and beautiful. In the first is S. Francis glorified in Heaven,
surrounded by those virtues which are essential for him who wishes to be
perfectly in the grace of God. On one side Obedience is placing a yoke
on the neck of a friar who is before her on his knees, and the bands of
the yoke are drawn by certain hands towards Heaven; and, enjoining
silence with one finger to her lips, she has her eyes on Jesus Christ,
who is shedding blood from His side. And in company with this virtue are
Prudence and Humility, in order to show that where there is true
obedience there are ever humility and prudence, which enable us to carry
out every action well. In the second angle is Chastity, who, standing in
a very strong fastness, is refusing to be conquered either by kingdoms
or crowns or palms that some are presenting to her. At her feet is
Purity, who is washing naked figures; and Force is busy leading people
to wash and purify themselves. Near to Chastity, on one side, is
Penitence, who is chasing Love away with a Discipline, and putting to
flight Impurity. In the third space is Poverty, who is walking with bare
feet on thorns, and has a dog that is barking at her from behind, and
about her a boy who is throwing stones at her, and another who is busy
pushing some thorns with a stick against her legs. And this Poverty is
seen here being espoused by S. Francis, while Jesus Christ is holding
her hand, there being present, not without mystic meaning, Hope and
Compassion. In the fourth and last of the said spaces is a S. Francis,
also glorified, in the white tunic of a deacon, and shown triumphant in
Heaven in the midst of a multitude of angels who are forming a choir
round him, with a standard whereon is a Cross with seven stars; and on
high is the Holy Spirit. Within each of these angles are some Latin
words that explain the scenes. In like manner, besides the said four
angles, there are pictures on the side walls which are very beautiful
and truly to be held in great price, both by reason of the perfection
that is seen in them and because they were wrought with so great
diligence that up to our own day they have remained fresh. In these
pictures is the portrait of Giotto himself, very well made, and over the
door of the sacristy, by the same man's hand and also