jects, from the Old and New Testaments, in the different chapels of the building. It is said that the passages from the Apocalypse, which he has painted in one of these chapels,[1] were inventions of Dante, as were probably those so highly eulogized of Assisi, respecting which we have already spoken at sufficient length. It is true that Dante was then dead, but it is very probable that these subjects may have been discussed between Giotto and him : a thing which so frequently happens among friends.
But to return to Naples. Giotto executed many works in the Castel dell’Uovo, particularly in the chapel,[2] which greatly pleased the king, by whom Giotto was indeed so much beloved, that while at his work he was frequently held in conversation by that monarch, who took pleasure in watching the progress of his labours and in hearing his remarks. Now Giotto had always a jest ready, and was never at a loss for a witty reply, so that he amused the king with his hand while he painted, and also by the acuteness of his pleasant conversation. Thus, one day, the king telling him that he would make him the first man in Naples, Giotto replied that he already was the first man in Naples, “for to that end it is that I dwell at the Porta Reale”, where the first houses of the city stand. Another time, the king saying to him, “ Giotto, if I were in your place, now that it is so hot, I would give up painting for a time, and take my rest.” “And so I would do, certainly,” replied Giotto, “if I were in your place.” Giotto being thus so acceptable to King Robert, was employed by him to execute numerous paintings in a hall (which King Alfonso afterwards destroyed to make room for the castle), and also in the church of the Incoronata.[3] Among those of the hall, were many portraits of celebrated men, Giotto himself being of the number. One day the king, desiring to amuse himself, requested Giotto to depict his kingdom, when the painter,
- ↑ All these works have since been whitewashed.—Roman ed. 1759.
- ↑ These paintings are also lost.
- ↑ For the many controversies to which these paintings, which are for the most part in tolerably good preservation, have given rise, see Waagen, Kestner, Kugler, Rumohr, Nagler, Forster, Count Vilani XIV, and others, who maintain that these works are by Giotto ; see also Aloe, of Berlin, and Domenico Ventimiglia, on the same side. Riccio, on the contrary, Saggio Storico, ecc., Naples, 1845, denies them to be by Giotto— and his opinion he supports by arguments to which the reader is referred.
