"... arose
A sun upon the world, as duly this
From Ganges doth: ..."
In the dimness of the cave-like church built to serve the purpose of a tomb and keep men's ideas familiar with the thought of death, these frescoes are glimpses into the heaven of the blest. Watch them at all hours of the day and there will be some new wonder to be noted, a face among the crowd which seems fairer than the rest, or, as the sunshine moves across, a flash of colours in an angel's wing like the sudden coming of a rainbow in a cloudy sky. And who shall forget the strange play of fancy as the candle light, during an afternoon service, mingles with the strong sunshine upon the white figures of saints and the whiter figure of the Lady Poverty, who appear to move towards us from amidst a blaze of golden clouds, until gradually as the evening closes in and the candles go out one by one, they are set once more in the shadow of their backgrounds like so many images of snow.
La Capella del Sacramento, or the Chapel of St. Nicholas.—Giotto left one scholar at Assisi whose work it is easy to discover, but who, as far as name and personality are concerned, is unknown, and shares in the general mystery which surrounds both the builders and painters of San Francesco. All we know is that he followed his master's style and great laws of composition even more closely than Taddeo Gaddi, and that he possessed much charm and originality. By the kind help of Mr Bernhard Berenson we have been able to group together some of the works of this interesting artist, who was evidently working at Assisi between 1300 and 1310 when he executed the last nine frescoes of the Upper Church illustrating the death and the miracles of St. Francis, decorated the Capella del Sacramento in the Lower Church with the legend of St. Nicholas, and painted a fine Crucifixion in the Confraternity of San Rufinuccio (see [chap. x]). There is a very delightful panel picture also by him in the corridor of the Uffizzi (No. 20 in the corridor), with eight small scenes from the life of St. Cecilia.
In a fresco over the arch on the inside of the Capella del Sacramento are portraits of the donors of the chapel, Cardinal Napoleone Orsini, who is being presented to Christ by St. Francis, and his younger brother Giovanni (below him is written Dñs Joñs Gaetanus frater ejus), presented by St. Nicholas. It helps to date the decoration of the chapel, for we know that Giovanni Orsini received the cardinal's hat in 1316, while here he is represented in the white dress of a deacon confirming the general opinion that these frescoes must have been painted before that date.[78]
St. Nicholas of Myra, generally known as St. Nicholas of Bari, both during his life and after his death was forever coming to the assistance of the oppressed; he did not even object to be the patron saint of drunkards and thieves, as well as of maiden virtue. He can easily be recognised in art by the three purses or golden balls which are always placed at his feet, in reference to the first kind action he performed when a wealthy young noble. This incident is charmingly recorded in the chapel upon the right wall near the entrance. Three sleeping maidens are lying by their father's side, and St. Nicholas, who has heard of their poverty, throws in three bags of gold as he passes by the open window. This charitable deed has made him a famous saint; when Dante is in Purgatory he hears the spirit of Hugh Capet recounting various acts of virtuous poverty and generosity, among which
"... it spake the gift
Of Nicholas, which on the maidens he
Bounteous bestow'd, to save their youthful prime