Chap. VII. THE UPPER CHURCH OF ASSISI. 225 who with gentle and elastic movement seem wafted through the air by their wings, and whose features already ex press that heavenly repose and noble kindliness, which so strongly contrasts in the Giottesques with the vehement action and grimace of the angels of the old style. Nor is the semblance of flight merely a result of the attitude; but it is due also to the sensible improvement of the flying drapery, which, aiding the development of the form and its action, contributes to the pleasure of the beholder.' Fine as a composition, and beautifully arranged as regards the groups of monks with tapers and crosses, is the twenty second fresco representing the incredulity of Girolamo. 2 But superior still is that where the body has been carried on a tressel towards the church of S. Damiano. The bearers have just dropped their load; and S. Chiara bends in grief over the remains. Whilst two nuns kiss the hands of the cold corpse, others bend over it. A couple communicate their thoughts; and the crowd behind look on in lamenta tion. The grief of the monks issuing in a column to the left out of a neighbouring convent is well depicted; and an affecting sense of genuine regret is visible in all the faces. In the females, a graceful choice of form, in the head of S. Francis, a good expression of the repose of death and select features; in the figures generally, true proportion and flowing draperies, varied attitudes and individuality, in the artist an improved knowledge of drawing and of form, a great variety within the bounds of nature combine to convince the spectator of the progress already made by the artists of Assisi. 3 The fresco of the canonization is unfortunately obliterated with the exception of a group of women and children who witness the scene; but as regards composition, the next picture which represents Gregory the Ninth in a dream receiving from S. Francis the flask of blood is 1 This fresco has lost most of I 2 The colour in No. 22. is in its colour; but the original design ! great part gone, is everywhere visible. No. 21. is j 3 Part of the intonaco of the much damaged. ! foreground has fallen. 15 VOL. I.