cook and the fire in the distance. Realism in the next compartment takes the proportion of the trivial; Lazarus is dragged out by two disciples; and a smell, which assails the nostrils of the bystanders, is made patent to the spectator by the action of some holding their noses. 1 Wherever the colour has been preserved in this series of frescos, it is lively, powerful, warm, and transparent. The flesh is finished with mellow transparent glazes, which serve to fuse the parts together. The art of colouring has evi dently been technically improved by the painter, and this is a quality not visible in these frescos only, but in the pictures of Giovanni da Milano. The impression which the paintings of this chapel creates is not that which results from the contemplation of a purely Florentine work such as that of Taddeo might be. There is something Siennese in the warm yet powerful colour, in the costumes and their ornamental accessories, in the careful drawing and minute details, in the types and movements of the persons represented. But amongst the pure Siennese, no painter possessed so much of Florentine composition, whilst at the same time, the principles and maxims of Giotto were better preserved by Taddeo. That the Rinuccini chapel was built late in the four teenth century seems to be admitted. The altarpiece which adorns it, is by an inferior hand, and has in common with the frescos the date of 1379. It is evident, indeed, that the latter are of a later date than the authentic pictures of Giovanni da Milano. In 1366 he had finally settled with his family at Florence; and the record of his admission to the freedom of the city, on the twenty second of April of that year, is still preserved. 2 To him * Martha and Mary in vehement action stretch forth their hands at the end of the grave, behind which the Saviour stands. The dresses of the Saviour and the women are repainted. The Noli me tangere is com pletely repainted; and so is the dream of the merchant of Mar seilles. 2 See the original document transcribed in Giornale Storico degli ArchiviToscani. Elor. Vieus- seux 1858. 8°. Vol. H. p. 65. He