modern artists, and Simone Martini." But in Giotto's case this unattractive appearance was redeemed by a kindly and joyous nature, a keen sense of humour, and unfailing cheerfulness, which made him the gayest and most pleasant companion. And Giotto, on his part, Vasari tells us, was deeply attached to the exiled poet, and may well have availed himself of Dante's ideas and suggestions in the great work upon which he was engaged, especially in the allegorical figures of Virtues and Vices, along the lower course of the chapel walls.
"The whole of the Arena Chapel," says Ghiberti, "was painted by the hand of Giotto." This statement has never been disputed, and, with the exception of the frescoes in the choir, which were added by his followers in later years, the decoration of the interior is entirely his work. The shape of the building, with its long, low nave, lighted by six narrow windows, was well adapted to fresco-painting, and even now, in spite of the havoc worked by the restorer's hand, the whole effect is singularly bright and decorative. The vaulted roof is studded with gold stars on a blue ground, and adorned with medallions of Christ and his Mother, and of the Apostles and Prophets who foretold his coming. A vision of Christ in glory occupies the space above the arch leading into the choir, and on the entrance wall is the Last Judgment, with a portrait of the founder, Enrico Scrovegno, holding a model of the chapel in his hands, welcomed by three fair and gracious angels. There, too, in the left-hand corner, among the hosts of the blessed, is a profile portrait of the painter himself, standing between two companions, in a red cap and vest Along the
