Mr. Murray's critic also tells you to
observe in it that "the daughter of Herodias playing on a violin is not
unlike Perugino's treatment of similar subjects." By which Mr. Murray's
critic means that the male musician playing on a violin, whom, without
looking either at his dress, or at the rest of the fresco, he took for
the daughter of Herodias, has a broad face. Allowing you the full
benefit of this criticism--there is still a point or two more to be
observed. This is the only fresco near the ground in which Giotto's
work is untouched, at least, by the modern restorer. So felicitously
safe it is, that you may learn from it at once and for ever, what good
fresco painting is--how quiet--how delicately clear--how little
coarsely or vulgarly attractive--how capable of the most tender light
and shade, and of the most exquisite and enduring colour.
In this latter respect, this fresco stands almost alone among the works
of Giotto; the striped curtain behind the table being wrought with a
variety and fantasy of playing colour which Paul Veronese could not
better at his best.
You will find, without difficulty, in spite of the faint tints, the
daughter of Herodias in the middle of the picture---slowly
_moving_, not dancing, to the violin music--she herself playing on
a lyre. In the farther corner of the picture, she gives St. John's head
to her mother; the face of Herodias is almost entirely faded, which may
be a farther guarantee to you of the safety of the rest.
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