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174 EARLY CHRISTIAN ART. Chap. V. and inferior in character to those of the Northern. The paintings of the choir, assigned by Vasari to Cimabue, it may be difficult to judge, but those of the Northern tran sept certainly make a nearer approach to the style of Ci- mab'ue than to that of Giunta. It is but natural that Giunta, having lived and painted about the time when the fame of S. Francis had been increased by canonization, should be associated in name with the so-called portrait of the saint in the sacristy of the great sanctuary. This work, 1 if examined more par ticularly in an artistic sense, did not differ much in exe cution from that of the successors of Giunta, but was painted with much body of yellowish colour, shadowed in dark tones, and outlined in black, and might date as far back as the close of the thirteenth century. The pictures in the small compartments are composed of figures in the usual exaggerated manner of the time. The effigy of S. Francis was repeated an hundred times in this form in the convents of his order, and a sample, nearer in style to the foregoing than others, may be seen somewhat da maged in the Museo Cristiano at the Vatican. 2 After Giunta, art did not revive at Pisa. It main tained itself at a low level in every sense, improving neither in types, form, nor execution, yet producing still with an industry truly tiring. Nor are examples of this nature confined to Pisa. A specimen of the fee blest kind may be found, in the shape of a crucifix, at S. Bernardino of Perugia, inscribed “Anno Domini MCCLXXI Gregorii P. P. X.’ 1 At Pistoia, in the anti chamber of the chapter of the cathedral, is a crucifix, exaggerating all the defects previously noticed, 3 and re peating the well known scenes of the Passion, almost as at S. Marta of Pisa. Yet it can not be said that the painter was a Pisan since artists obviously existed at 1 See postea, comparison be tween this and other portraits of S. Francis. 2 Case No. 19. 3 Livid in flesh tone, but light in general colour, and the high lights almost white; much im- pasto.