ing attitude with an expression of conviction. “Here he is not”, he seems to say. A fourth, satisfied, expresses wonder; whilst a fifth looking up is surprised, for he sees S. John ascending. In these five figures, Giotto realized a sequence of ideas as plainly almost as if he had spoken; and this is one of the greatest triumphs of art. Who will not see that the maxims applied by the painter in the miraculous healing of the sick man at S. Francesco of Assisi are here applied with in creased power. Raphael alone in “the school of Athens” carried out with success the same principle. 1 The laws applied to a single group were maintained at the same time by Giotto in the connection of each group with the other, and with the architecture, to which he gave light and pleasing proportions. As solitary figures, it would be difficult to find one more grand than that of the ascending apostle, one in finer and more energetic movement than that of the prostrate disciple, or one more natural than that of the man veiling his eyes against the light emanating from the Saviour. Not less remarkable is the ability with which Giotto repeated in this fresco the same figures, as appear in the resurrection of Drusiana, but in different attitudes, movement, and expression. The preservation of this fresco is not good; and it is again surprising, not that one should find in it beauty of com position, but that the impress of the painter’s thought and versatility in expression should still be there. Yet this is so, and to Giotto, for these works alone, must be awarded this praise, that having studied and thought out every possible phase of his subject, he displayed them all in composition, movement, expression and design. Happily for the student, this fresco has only been partially restored; — the figure most damaged by this operation being that on the right in profile. The restorer, having gone so far, perceived that he was only spoiling the fresco, and left the outlines of the remainder as he found them. It 1 In the group of Euclid with his pupils.