A guide to the paintings in the churches and minor museums of Florence; a critical catalogue, with quotations from Vasari . The Death of S. FrancisGiotto. S. Croce. are the bell-ropes, is the life of S. Francis, for whosedeath a number of Frati show very befittingly theemotion of weeping. (Vas. i. 373.) The frescoes were probably painted after 1310 forRidolfo de Bardi, whose son Giovanni belonged tothe Franciscan Order. The whitewash was removedin 1853, and the restoration was done by an artistbetter acquainted with the style of Giotto than hewho restored the Cappella Peruzzi, but the frescoes
A guide to the paintings in the churches and minor museums of Florence; a critical catalogue, with quotations from Vasari . The Death of S. FrancisGiotto. S. Croce. are the bell-ropes, is the life of S. Francis, for whosedeath a number of Frati show very befittingly theemotion of weeping. (Vas. i. 373.) The frescoes were probably painted after 1310 forRidolfo de Bardi, whose son Giovanni belonged tothe Franciscan Order. The whitewash was removedin 1853, and the restoration was done by an artistbetter acquainted with the style of Giotto than hewho restored the Cappella Peruzzi, but the frescoesare entirely repainted. On the right, at the top, S. G 98 S. CROCE Francis presents the rules of his Order to PopeHonorius. Below, he undergoes the ordeal by firebefore the Sultan—a superb composition, in which thefigures have great beauty and dignity. Below is thedeathbed of the Saint and his apparition to the Bishopof Assisi, to assure him of the truth of the the left, at the top, is S. Francis renouncing theworldly life and being clothed by the Bishop of S. Francis before the SultanGiotto. S. Croce. Below, he appears to S. Antonio while he is preachingin the Cathedral of Aries, and below again is the deathof the Saint. The composition of this scene is ex-ceedingly fine, and has been followed more or lessfaithfully in all subsequent paintings of the choristers at the foot of the bed are of greatbeauty. As in all Giottos paintings, the figures aremuch better than the surroundings. Solidly modelled,admirably posed and grouped, they seem to have beenpainted direct from life, whereas the architecture is FOURTH TRANSEPT CHAPEL 99 conventional and poor. In the vaulting are fourmedallions, with S. Francis in glory and the threeVirtues peculiar to his Order—Poverty, Obedience,and Charity. On either side of the ugly modern window are four
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