It is worth noticing that though the whole effect of the church is, as I have said, excessively similar to that of St. Mark's at Venice, especially in the richness of subdued colouring, the effect which is produced in St. Mark's by elaborate Byzantine mosaics, and the lavish use of gold and precious marbles, is here gained only by the lovely colouring of the frescoes, which cover every available space, and even are continued on the arches themselves, which are painted in elaborate imitations of marble mosaic. The richness of hue of these painted mosaics is very great, and the patterns frequently of great delicacy and beauty. On the first arch, for instance, there is a running border of vine leaves drawn with a freedom and truth which is remarkable, if we compare it with the representation of natural foliage in the frescoes.[68] Most of the patterns, however, both on the arches and the borders surrounding the pictures are more or less geometrical, and are interspersed with medallions of the heads of various prophets and saints of the Church.
The most westerly portion of the building, including the entrance, is destroyed by bad Renaissance work of the most vulgar type, and any one who wishes to see the two styles (pre- and post-Raphael) most strongly contrasted in favour of the former, could hardly have a better opportunity than is given by the series of frescoes (representing the Popes) in this part of the church.
Let us next look in detail at the arrangement of the frescoes.
It is in the four triangular spaces of the roof immediately above the altar, that the four great Giotto frescoes, illustrating the three vows of the Order of St. Francis--_Obedience_, _Chastity_, _Poverty_, and one of the _Enthronement of St. Francis in Heaven_, are seen.
In the right-hand transept of the choir there are a series of designs by Gaddi, Memmi, Cimabue, and Giotto, of various New Testament subjects, the most prominent of which is a magnificent _Enthronement of the Virgin_, by Cimabue, underneath which Giotto has painted St. Francis and four brethren of his order, who gaze at the Madonna with reverent ecstasy.
The most interesting portion of the church is undoubtedly the choir, though, owing to the narrow arched windows and the altar being placed at the west instead of the east end, it is only towards sundown that there is sufficient light to thoroughly illuminate the frescoes on the roof.