Again, he was a very noble colourist; and in his peculiar feeling for breadth of hue resembled Titian more than any other of the Florentine school.  That is to say, had he been born two centuries later, when the art of painting was fully known, I believe he would have treated his subjects much more like Titian than like Raphael; in fact, the frescoes of Titian in the chapel beside the church of St. Antonio at Padua, are, in all technical qualities, and in many of their conceptions, almost exactly what I believe Giotto would have done, had he lived in Titian’s time.  As it was, he of course never attained either richness or truth of colour; but in serene brilliancy he is not easily rivalled; invariably massing his hues in large fields, limiting them firmly, and then filling them with subtle gradation.  He had the Venetian fondness for bars and stripes, not unfrequently casting barred colours obliquely across the draperies of an upright figure, from side to side (as very notably in the dress of one of the musicians who are playing to the dancing of Herodias’ daughter, in one of his frescoes at Santa Croce); and this predilection was mingled with the truly mediaeval love of quartering.[12] The figure of the Madonna in the small tempera pictures in the Academy at Florence is always completely divided into two narrow segments by her dark-blue robe.

[Footnote 12:  I use this heraldic word in an inaccurate sense, knowing no other that will express what I mean,—­the division of the picture into quaint segments of alternating colour, more marked than any of the figure outlines.]

And this is always to be remembered in looking at any engravings from the works of Giotto; for the injury they sustain in being deprived of their colour is far greater than in the case of later designers.  All works produced in the fourteenth century agree in being more or less decorative; they were intended in most instances to be subservient to architectural effect, and were executed in the manner best calculated to produce a striking impression when they were seen in a mass.  The painted wall and the painted window were part and parcel of one magnificent whole; and it is as unjust to the work of Giotto, or of any contemporary artist, to take out a single feature from the series, and represent it in black and white on a separate page, as it would be to take out a compartment of a noble coloured window, and engrave it in the same manner.  What is at once refined and effective, if seen at the intended distance in unison with the rest of the work, becomes coarse and insipid when seen isolated and near; and the more skilfully the design is arranged, so as to give full value to the colours which are introduced in it, the more blank and cold will it become when it is deprived of them.