. A new history of painting in Italy, from the II to the XVI century; . S. FRANCIS BEFORE THE SOLDANGiotto. S. Croce, Florence. THE BARDI CHAPEL 257 These two subjects Giotto represented in one fresco at the Bardi, asthey had already been given in the great sanctuary, but in a formmore truly in accord with the maxims of art, inasmuch as the Saintat the Bardi does not turn his back to the scene of the Vision. A friarraises the curtain of the bed as S. Francis sits up with his hands inprayer. Another, at the foot of the bed, reads a canticle, whilst therest of the brethren stand around grieving.
. A new history of painting in Italy, from the II to the XVI century; . S. FRANCIS BEFORE THE SOLDANGiotto. S. Croce, Florence. THE BARDI CHAPEL 257 These two subjects Giotto represented in one fresco at the Bardi, asthey had already been given in the great sanctuary, but in a formmore truly in accord with the maxims of art, inasmuch as the Saintat the Bardi does not turn his back to the scene of the Vision. A friarraises the curtain of the bed as S. Francis sits up with his hands inprayer. Another, at the foot of the bed, reads a canticle, whilst therest of the brethren stand around grieving. Close by, the saint appearsat the foot of the couch, on which the bishop sleeps, and is seen by anattendant crouching at the head of it. A second attendant sleeps atthe foot. Little of the original design remains unimpaired.^ WhereS. Francis, on his deathbed, lies outstretched and bewailed by thebrethren, the incredulous Girolamo kneels at his breast, and puts hisfinger in the wound. Two monks kiss the dead saints hands, twomore his feet. Four behind the Utter stoop
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