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sentation of the Virgin at the temple, of which a beautiful small design on grey paper exists in the gallery of drawings at the Louvre, is a crowded composition, to present which would have required in the artist a knowledge of perspec tive not to be demanded of one living in the fourteenth century. The Virgin may be seen ascending the steps of the temple accompanied by Joachim, Anna, and an infant, to meet the high priest standing at the head of the flight, accompanied by his suite, and surrounded by spectators. 1 On each side of the foreground groups kneel; and, promi nent on the right, behind two beautifully drawn females, a man with a long beard in profile holding his dress, and looking with eagerness at the Virgin, discloses the features of Gaddo Gaddi, the painter’s father such as Vasari engra ved them in the life of that painter, and near him another, also bearded, in a cap, and of fierce aspect for so timid a man, revealing the face of Andrea Tafi. 2 Utter want of repose and order characterizes the compo sition of the Sposalizio ; — the bridal pair and their parents being surrounded by a crowd, some of whom, to the left behind Joseph, have a look of contempt, 3 and others, such as the youth breaking the bough, are ugly in form, features and expression. 4 To the left front of these, two musicians express very fairly in features that are not without nature or beauty, the act of blowing the pipe. Confused as the scene undoubtedly is, a certain individuality and some character in a few heads somewhat retrieve its principal defect. The profile of the bridegroom is fine, — that of the high priest, uniting the pair, equally so. A group of females to the right is elegant, especially so the female with the diadem next but one to the Virgin. Who will not admit that, compared with Giotto, Taddeo was conventional, in expression, movement, and execution? 1 The whole of the figure of the Virgin, part of that of Joa chim and S. Anna, the steps are repainted on a new intona- co. A kneeling figure of a man to the left is repainted as to the dress. The figures in the middle distance are short and ill pro portioned. 2 Modern critics, in error, would have us 'take these portraits in the next compartment of the Spo salizio. 3 Near these, according to the commentators of Vasari. (Vol. I. p. 207), the portraits of Gaddo and Tafi. 4 The blue dress of this figure repainted. In the centre of the foreground another figure breaks a stick under its foot. To the right, a group of females seems to have accompanied the Virgin.
