.............In the various small scenes at the lid of thePalad'Oro and the altar-piece (no. 21) within the Gallery of X^enice, there are particular info that are akin to Giotto. along with, while Maestro Paolo achieved them, Giotto's frescoes at Padua, virtually on the gates of Venice, have been alread}' thirty or fort}' years outdated; evidently Maestro Paolo knew them and contemplating Giotto's common repute had most likely studied them. From the following doubtless originate the interiors obvious in part corresponding to we discover within the small scenes of the panels in S. Marco and the Galler}'. The}* are conceived in precisely an identical approach as within the works of the nice Florentine, for the constructions in w-hich the occasions may still happen shape the history. we will without doubt additionally ascribe to a Giottesque effect, the tragic motion w^hich is rendered in a way very stronger to what one may anticipate from an artist purel}' encouraged b}' the Byzantines. Signor L. X^enturi thinks that the panel within the Venice Gallery should have been achieved tow'ards the tip of the 14th century as a result of the presence of convinced information which he believes have been onl}- brought into the Venetian tuition at this second. between them he costs the Giottesque iconography of the scenes from the lifetime of St. Francis. yet earlier than agreeing with this, we needs to to begin with end up that Giotto reall}' brought vital thoughts within the representations of the legend of St. Francis — and this turns out very uncertain if we evaluate his frescoes within the top Church at Assisi with the 13111 century sequence within the nave of the reduce Church and if we reflect on with what fidelit}' to previous iconographical traditions Giotto depicted scenes from the Evangel — and second!}', if this be so, a cause will be given why those photos remained unknown in V^enice until eventually nearly a century after Giotto represented them at Assisi................
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