Entering Assisi, we soon reach the Church of San Francisco, in which is the reputed tomb of St Francis. This is not a striking edifice, but its charm is in the pictures of Giotto. Poverty, Chastity, and Obedience are the subjects of these frescoes. Ruskin copied the Poverty, and made a long study of these works. The picture symbolises the Lady of Poverty, the bride of St Francis, who is given to him by Christ. This is one of Giotto’s chief pictures. Chastity is a young woman in a castle; she is worshipped by angels, and the walls of the fortress are surrounded by men in armour. In another fresco St Francis is dressed in canonical garb, attended by angels, who sing praise to him. It is said that Dante suggested this subject to Giotto.
The frescoes of Simone, in a chapel of the lower church, are of much interest to the art student. They are richly coloured and very decorative, and have been considered by some authorities as equal to the works of Giotto at Assisi. Simone was a painter of the Sienese School, and according to Vasari, he was taught by Giotto. His “Annunciation” is a rich work, preserved in the Uffizi Palace at Florence.
The twenty-eight scenes in the history of St Francis are in the upper church, and in these we see again Giotto’s noblest art in the harmonious grouping and the fluidity of his colour.
The Cathedral of San Rufino is a handsome church. Here St Francis was baptised, and in this edifice he preached.
The father of the saint was a woollen merchant, and his shop was in the Via Portica. The house still stands, and may be recognised by its highly decorated portal. This was not the birthplace of St Francis, for the Chiesa Nuova, built in 1615, covers the site of the house.
In the Church of St Clare you are shown the “remains” of Saint Clare, in a crypt, lying in a glass case.
When Goethe was in Assisi, the building that interested him more than any other was the Temple of Minerva, built in the time of Augustus.
“At last we reached what is properly the old town, and behold before my eyes stood the noble edifice, the first complete memorial of antiquity that I had ever seen.... Looking at the façade, I could not sufficiently admire the genius-like identity of design which the architects have here as elsewhere maintained. The order is Corinthian, the inter-columnar spaces being somewhat above the two modules. The bases of the columns, and the plinths seem to rest on pedestals, but it is only an appearance.” Goethe concludes his description: “The impression which the sight of this edifice left upon me is not to be expressed, and will bring forth imperishable fruits.”
VENICE
THE very name breathes romance and spells beauty. Poets, artists, and historians without number have revealed to us the glories of this city. Dull indeed must be the perception of loveliness of form and colour in the mind of the man who is not deeply moved by the contemplation of the Stones of Venice. Yet it seems to me that no city is so difficult to describe; everything has been said, every scene painted by master hands. One’s impression must read inevitably like that which has been written over and over again. And in a brief enumeration of the buildings to be seen by the visitor, how can the unhappy writer avoid the charge of baldness and inefficiency?