glory in the Cappella S. Silvestro is no longer grand and imposing like that of Giotto, but shows an effort at greater realism in the research of nude forms. Amongst the principal figures, one old and bearded, behind the Virgin, the second from the left, is full of character. On the wall to the left of the entrance is a powerful com position representing the Virgin in adoration 1 before the infant Saviour, 2 where a curious realism may be noticed in the action of one of the shepherds who holds back a barking dog. The painter might, indeed, well deserve for this the nickname of “ape of nature” which Vasari applies to Stefano Fiorentino. This is no Giottesque composition, yet it is well ordered and distributed. The features of the Virgin are not without softness and feel ing. A pensive gravity marks S. Joseph, whose head is Giottesque in type and powerfully rendered. The angels though graceful and slender, have still something more than usually masculine about them, and he who announces the advent of the Saviour to the shepherds, is somewhat in Taddeo Gaddi’s manner. Here as at S. Sylvestro is the art of one combining Giottesque qualities with a tech nical advance equal to that which marked the work of Giovanni da Milano, and therefore of one apparently living in the second half of the fourteenth century. 3 Yet even this may not be affirmed with too great certainty, because it is possible to point out yet another work ha ving the same characteristics, the subject of which would lead the student to believe that it must have been pro- tlie Marys, soldiers and priests stand around and angels wail about the principal figure. Where the colour has fallen the origi nal grey preparation of the angels appears. In the four sections of the ceiling, 4 prophets. Vault ing of entrance, the 4 Evangelists between S. Benedict and another saint. 1 The Virgin’s dress is scaled away. 2 In a shed with S. Joseph sitting to the right, the ox and the ass in a corner, and a choir of angels about. Three celestial messengers fly above the shed, one of whom announces to the shepherds in the distance to the left. 3 Amongst the painters of the time whose names present them selves as capable of having exe cuted the frescos of this chapel, we may mention Bernardo of Flo rence respecting whom, see postea.