When the stories above described were finished, Giotto continued to labour in the same place, but in the lower church, where he painted the upper part of the walls beside the high altar, together with the four angles of the vault, beneath which the remains of St. Francis repose. All of these display rich and original invention.[1] In the first angle is St. Francis glorified in heaven, and surrounded by those virtues which are essential to him who desires fully to partake of the grace of God. On one side is Obedience, placing a yoke on the neck of a friar who kneels before her, the bands of the yoke being drawn towards heaven by hands above. The finger on the lip of Obedience imposes silence, while her eyes are fixed on Jesus, from whose side the blood is flowing: beside this Virtue, stand Prudence and Humility, to show that where there is true obedience, there are also humility and prudence, directing every action towards the right and good. In the second angle is Chastity, who, firm on a well-defended fortress, refuses to yield to any of the kingdoms, crowns, and glories, that are offered her on all sides. At the feet of Chastity is Purity, washing certain naked figures, while Force is conducting others towards her, to be also washed and purified. On one side of Chastity stands Penitence, driving away Love with the cord of discipline, and putting Incontinence to flight. The third compartment exhibits Poverty walking barefoot amidst thorns: a dog follows her, barking, and a boy throws stones at her, while a second gathers the thorns about her, and presses them into her legs with a stick. This Poverty is here seen to be espoused by St. Francis, while Christ himself is holding her hand; and Hope, not without significance, is present, together with Charity.[2] In the fourth and last of these angles is a St. Francis, also glorified, as in the first compartment. He is dressed in the white tunic of the deacon,[3] and is triumphant in Heaven, attended by a multitude of angels, who form a choir around him; they hold a standard, on which is a cross with seven stars; and
- ↑ See Lanzi, History of Painting, vol. i. Florentine School, Epoch 1.
- ↑ It appears that Giotto painted this allegorical fresco under the instruction or influence of Dante; the passage describing the espousals of St. Francis with “Holy Poverty”, occurs in the Paradiso, c. xi.
- ↑ St. Francis was represented in this dress because he would never enter the priesthood, but remained always a deacon from pure humility.
