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a centaur, and one'holding his head in his hand. This Luci fer and the fantastic groups about him display the varied nature of Giotto’s studies and his comprehension of move ment. Yet, as in Dante the imagery is often literal, and the contrasts terrestrial, so in Giotto who followed the Dantesque idea, nothing more than a fantastic materialism was exhibited. In this, however, both poet and painter embodied the thought and traditions of older times; and Lucifer reminds us of the Cerberus of antiquity. 1 The Saviour in glory, in the space opposite the Inferno, presides over the array of the hierarchy of the blessed, equally divided on each side of the window of the chapel. Little of the upper part has been preserved, but the lower affords matter for most interesting studies, not merely because the figures have been in great part pre served, at least in outline, but because under the sem blance of a paradise, Giotto obviously embodies pictorially the transient peace which Cardinal d’Acquasparta, in the name of his master Boniface the Eighth, imposed on the Florentines in the winter of 1301. 2 Uniting the two principal groups at each side by two figures of angels, now in part obliterated, which stood guard over the lily of Florence, 3 he represented to the right of these, near the lower angle of the window, the standing figure of a prince, wearing over the long hair of the Frenchmen of the period a coroneted cap. This youth, of somewhat disdainful glance, but of majestic mien, with his arms 1 The colour of the fresco has fallen, without affecting the polish of the plaster surface, which still remains as smooth as ever. The outlines of the Lucifer are en graved in the plaster. The rest of the forms are firmly lined and shadowed withreddish brown. Con sidered in reference to technical execution, this fresco reveals a mixture of two methods, buon fresco and fresco retouched a secco. The knit of four great portions is still visible, on which it would seem that the outlines were in part en graved and part painted whilst the plaster was still wet. This part has been in a great measure preserved. The colouring of the flesh and draperies, according to the old me thod, is that which has not resisted time, whitewash, and restoring. 2 Consult the historians of Flo rence, amongst them Ammira- to (Scipio).Dell’ Istorie Flo rentine, &c. 4°. Flor. 1600. p. 160. 3 Now newly painted in.