now why,
altogether, but so it is.

Giotto, then, is sent for, to paint this high chapel: I am not sure if
he chose his own subjects from the life of St. Francis: I think so,--but
of course can't reason on the guess securely. At all events, he would
have much of his own way in the matter.

[Illustration: ST. FRANCIS BEFORE THE SOLDAN.
_Giotto._]

Now you must observe that painting a Gothic chapel rightly is just the
same thing as painting a Greek vase rightly. The chapel is merely the
vase turned upside-down, and outside-in. The principles of decoration
are exactly the same. Your decoration is to be proportioned to the size
of your vase; to be together delightful when you look at the cup, or
chapel, as a whole; to be various and entertaining when you turn the cup
round; (you turn _yourself_ round in the chapel;) and to bend its heads
and necks of figures about, as best it can, over the hollows, and ins
and outs, so that anyhow, whether too long or too short--possible or
impossible--they may be living, and full of grace. You will also please
take it on my word to-day--in another morning walk you shall have proof
of it--that Giotto was a pure Etruscan-Greek of the Thirteenth Century:
converted indeed to worship St. Francis instead of Heracles; but as far
as vase-painting goes, precisely the Etruscan he was before. This is
nothing else than a large, beautiful, coloured Etruscan vase you have
got, inverted over your heads like a diving-bell. The roof has the
symbols of the three virtues of labour--Poverty, Chastity, Obedience.

A. Highest on the left side, looking to the window. The life of St.
Francis begins in his renunciation of the world.

B. Highest on the right side. His new life is approved and ordained by
the authority of the church.

C. Central on the left side. He preaches to his own disciples.

D. Central on the right side. He preaches to the heathen.

E. Lowest on the left side. His burial.

F. Lowest on the right side. His power after death.

Besides these six subjects, there are, on the sides of the window, the
four great Franciscan saints, St. Louis of France, St. Louis of
Toulouse, St. Clare, and St. Elizabeth of Hungary. The Soldan, with an
ordinary opera-glass, you may see clearly enough; and I think it will be
first well to notice some technical points in it.

If the little virgin on the stairs of the temple reminded you of one
composition of Titian's, this Soldan should, I think, rem