Giotto . om on high that all would belong to him and to hissoldiers. The treatment of perspective in the architecture isagain instructive; to the fault noted in the first frescoa second is added here ; this appears in the two upperstoreys of the dream palace, which look as if they werefalling backwards. The main error of older artists hadbeen the reverse—to show the entire roof of the build-ings, representing them, in consequence, as leaningdangerously forwards. Giottos mistake here—nowhereelse so obviously committed—is therefore of peculiarinterest, as it suggests that, while actually engaged
Giotto . om on high that all would belong to him and to hissoldiers. The treatment of perspective in the architecture isagain instructive; to the fault noted in the first frescoa second is added here ; this appears in the two upperstoreys of the dream palace, which look as if they werefalling backwards. The main error of older artists hadbeen the reverse—to show the entire roof of the build-ings, representing them, in consequence, as leaningdangerously forwards. Giottos mistake here—nowhereelse so obviously committed—is therefore of peculiarinterest, as it suggests that, while actually engagedupon the series, he was devoting his mind to problemsof perspective, and, in the absence of theoretical know-ledge of the subject, was advancing by experiment tobetter representation in practice. The fresco testifies very clearly to the practical biasof the painters mind. The dream palace is almostoverwhelming in its solidity and size, and seemsto press upon the very bed-posts. Yet Francis sleeps. ^. S. FRANCIS AT S. DAMIANO \_Assisi. Upper ChurchTo face p. 29 FIRST WORKS IN ASSISI 29 as he must, and with averted face. In fear, then, lestthe meaning be missed, Giotto sends a heavenly mes-senger (in this case Christ himself) to apprise Francis ofits presence, and a curtain, which might interrupt hisvision if he were to wake, is drawn carefully aside. 4. S. Francis at S. Damiano He had gone out one day to meditate in the fields,and was sauntering close to the church of San Damiano,which was in danger of falling by reason of its excessiveage. Moved by the Spirit he entered the church to pray,and falling before the image of the Crucified, he was filledwhile praying with no small consolation of spirit; andwhen with tearful eyes he was gazing upon the Cross ofthe Lord, he heard with his bodily ears a voice, whichdescended from the very Cross upon him, three timessaying, Francis, go and repair My house, which, thouseest, is ruined totally. This is, perhaps, the most valuable fre
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