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For frescoes in the Palais des Papes in Avignon and the attribution to Giotto at Verona Book p.58, see Works, 9.273 footnote 5.
The attribution to Giotto is made in the passage on the frescoes of the Palais des Papes at Murray (1847a) p.455:
Attached to the Great Hall (Salle Brulée) are side chapels and the Salle du Consistoire, having traces of frescoes executed in the 14th century; but they are partly effaced or concealed from view by the modern division of this lofty range of halls by floors into 3 stories, to convert them into dormitories.
Another stair on the opposite side of the building leads to the chamber occupied by the inquisition, which was established here in the 13th century. The Chapelle du Saint Office, vaulted and groined, retains scarcely any of the traces with which it was decorated by Giotto, 1324-27. Christ’s Baptism, and Interview with the Woman of Samaria; Theodosius repulsed by St. Ambrose, and St Louis in Egypt, the Pyramids in the background, may still be distinguished. A large portion, including the Last Judgment, are effaced.
For evidence of Ruskin’s use of this edition of Murray see for example Notebook M2 p.172.
None of the frescoes in Avignon would now be attributed to Giotto, and the only frescoes there now attributed to Simone Martini (the attribution suggested by Cook and Wedderburn at Works, 9.273) are those of The Blessing Christ with Angels and the Virgin and Child with donor and attendant angel in the porch of the cathedral (Martindale (1988) pp.181-2).
The angel drawn at Verona Book p.58 is reminiscent of the ‘attendant angels’ but not identical and not in ‘floating clouds’. The pattern at Verona Book p.60L is very like a pattern in the Cathedral porch, where it ‘fills a kind of spandrel’, but it would be odd to refer to that as ‘Giotto’s chapel’, the identification at Verona Book p.60L.
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[Version 0.05: May 2008]