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the entrance, 1 executed on the walls of the chapel it self the following scenes from the proto-evangelion and new testament. On the lunette of the side, to the left of the entrance, he represented the expulsion of Joachim from the Temple and in four compartments below the lunette, 2 the meeting of Anna and Joachim, the birth, the bethrothal, and mar riage of the Virgin. On the wall facing the entrance, at the sides and above a window which lights the chapel, he placed the Annunciation, the Salutation, the angel appearing to the shepherds, and their adoration, the Magi journeying to Bethlehem, and their adoration. The first of these scenes, which Giotto had already carried out at the Arena of Padua, was distributed in truly Giottesque perfection by Taddeo, and illustrated by a very animated, often vehement action. With anger in their faces the priests pursue Joachim, who precipitately retiring, seems pushed out by the shoulder by the chief of them. The more fortunate Jews, who have not incurred the anger of the priests, kneel or stand to the right and left, holding the lamb offerings, and with surprise depicted in their faces. Clad in broad draperies, in noble bearing and of well proportioned frame Joachim retires from the scene of his discomfiture. Outside, he may he seen comforted by the angel. 3 Equally fine as a composition is the meeting, at the gates of the town, of Joachim, followed by a servant, carrying his rejected offering, and Anna with a suite of three graceful females. The birth of the Virgin is not essentially different from the typical one of Giotto and his predecessors. 4 The pre- 1 Under a pointed arch, in the apex of which the arms of the Baroncelli are counterparts of those on Giotto’s altarpiece inside. 2 The compartments are divided by painted winding columns and cornices of feigned architecture. 3 A fine natural figure in a glory, the rays of which are all re painted. Joachim sits on a rock. His green dress in great part re touched in yellow. In a distant landscape three shepherds. 4 The figure of Anna, on the bed, has been obliterated, and a new intonaco introduced but not filled up. The composition thus loses all balance. The nurses have washed the babe, with whom one of them plays.
