e we see some frescoes of a
very beautiful and early character which have been erroneously
attributed to Giotto, and as erroneously it might seem to Peter of
Rimini.

[Illustration: INTERIOR OF S. MARIA IN PORTO FUORI]

They were the gift of a certain Graziadeo, a notary who in 1246
provided the cost of the work, which was carried out it would seem by
Maso da Faenza (1314), Rastello da Forll (1350-60), Giovanni da
Ravenna (1368-96), and other painters of the Romagnuol school.[1]
These works, which are among the loveliest we have of the school, may
be noted as follows: in the nave to the left we see the Madonna and
Child with four saints; here, too, is S. Julian. Upon the triumphal
arch we see in the midst the Saviour and on the one side Antichrist
and the martyrdom of the saints, on the other the defeat and end of
Antichrist who is beheaded by angels. Beneath are scenes of Paradise
and Hell. On the roof of the choir we see the Evangelists with their
symbols and the Doctors of the Church. Upon the right the Death,
Assumption, and Coronation of the Blessed Virgin, together with the
Massacre of the Innocents and the Last Supper and perhaps S. Francis
and S. Clare. Upon the left we have the Birth and Presentation of the
Blessed Virgin in the Temple. The last two figures upon the right here
are said to be portraits of Giotto and Guido da Polenta by those who
attribute these works to the Florentine master. In the chapel on the
left we see pope John I. before Theodoric, pope John in prison, and in
the lunette the martyrdom of a saint. Close by are other frescoes
repainted of S. Apollinaris and S. Antony Abbot. In the chapel on the
right we see perhaps S. John baptising a king, S. John preaching, and
Blessed Pietro _Il Peccatore_ healing the blind and sick. Here too
would appear to be scenes from the life of S. Matthew, but unhappily
the subjects are all of them obscure and difficult to interpret. At
the end of the apse we see the three Maries at the Sepulchre and the
Incredulity of S. Thomas.

[Footnote 1: Cf. Dr. Ricci, _Guida di Ravenna_ (Bologna, fourth
edition), and see Anselmi, _Memorie del Pittore Trecentista Petrus da
Rimini_ in _La Romagna_ (1906), vol. III. fasc. Settembre.]

Of these majestic but spoilt works undoubtedly the noblest in design
is that of the Death of the Blessed Virgin. The Last Supper is also
exceedingly beautiful, and the Incredulity of S. Thomas is a splendid
piece of work. But in the course o