then the chapel of the Podestà. This is the author of the Vita Nuova. That other portrait shown us in the posthumous mask,—a face dead in exile after the death of hope,—should front the first page of the Sacred Poem to which heaven and earth had set their hands, but which might never bring him back to Florence, though it had made him haggard for many years.[1]
Giotto's Canzone on the doctrine of voluntary poverty,—the only poem we have of his,—is a protest against a perversion of gospel teaching which had gained ground in his day to the extent of becoming a popular frenzy. People went literally mad upon it; and to the reaction against this madness may also be assigned (at any rate partly) Cavalcanti's poem on Poverty, which, as we have seen, is otherwise not easily explained, if authentic. Giotto's canzone is all the more curious when we remember his noble fresco at Assisi, of Saint Francis wedded to Poverty.[2] It would really almost seem as if the poem had been written as a sort of safety-valve for the painter's true feelings, during the composition of the picture. At any rate, it affords another proof of the strong common sense and turn for humour which all accounts attribute to Giotto.
I have next introduced, as not inappropriate to the series of poems connected with Dante, Simone dall' Antella's fine sonnet relating to the last enterprises of Henry of Luxembourg, and to his then approaching end,—that deathblow to the Ghibelline hopes which Dante so deeply shared. This one sonnet is all we know of its author, besides his name.
Giovanni Quirino is another name which stands
