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This ciborium alone would justify the assertion that Giotto was the founder of a school of colour, and that, in this respect, he was as great in pictures on wood as in fresco. Here, indeed, the same qualities of tone may be found, as mark the wall paintings of Assisi; — the colour being trans parent, and warm, but light, of a grey verde in the shadows, verging through warm ruddy semitones to lights superpo sed with massive breadth, well defined, fused, and rounded. The draperies, — in clear bright keys, — are of charming soft harmonies, folded with an ease superior to that of pre vious examples, and most tastefully ornamented. No other work of Giotto has been preserved at Rome, except a fragment of a fresco in S. Giovanni Laterano, representing Pope Boniface the Eighth in full pontificals, at a balcony, announcing the opening of the Jubilee. 1 Blackened by time and considerably retouched, this fresco has no longer any charm of colour; but it still reveals, on a close inspection, the great talent for portraiture, for delineating the human form and face in distinct and in dividual features, for proportion and mutual harmony, that characterized Giotto. It displays, besides, some progress in the art of drawing extremities and such features as the eyes, whose generalized shape evidently began at the opening of the fourteenth century to form a more special Study on the part of the master. But this fresco is further of interest as it confirms the belief that Giotto was still at Rome after the proclamation of the Jubilee of 1300. 2 The mighty influence of his genius upon the artists of the capital, and especially upon Pietro Cavallini, the readi- 1 Two clerical persons on his right and left stand likewise at the balcony; one of whom ex hibits a scroll on which are the words “Bonifacius Episcopus”. On the right stands a fourth figure. The arms of the Orsini are em broidered on a green cloth hang ing over the balcony; and the announcement of the Jubilee is engraved in an inscription below. 2 At Rome, according to Ghi berti and Vasari, Giotto painted several frescos in S. Peter (Ghi berti comm. 2. Vol. I of Vas. p. XVIII. Vas. Vol. I. p. 323) and, in the church of the Minerva, a crucifix in tempera. These have perished, but in the latter church is a wooden crucifix assigned for no imaginable reason to Giotto.