4G7 . Chap. XXI. CHAPEL OF THE GIRDLE AT PRATO. action of the figures is lively and natural and not exag gerated as in the frescos of Taddeo, and the draperies are remarkable for breadth. 1 The meeting of Anna and Joa chim is a very fine and simple composition, the barren wife being shown falling into the arms of her husband. 2 The usual composition of the Virgin’s birth is rendered more simply and perfectly and with less realism by Ag nolo than by Giovanni da Milano in the Rinuccini chapel at Florence. 3 A just harmony of distribution, — animation without exaggerated action, mark the figu res in the presentation of Mary in the temple; and no trace is to be found of the confusion which marks the arrangement of the same subject by Taddeo in the Baron- celli chapel, or by Giovanni da Milano in the Rinuccini chapel at S. Croce of Florence. The composition simply Giottesque and of few figures 4 is, as such, more pleasing and effective than that of the same subject by Ghir landaio in S. Maria Novella at Florence which has in one respect something reminiscent of the picture of Agnolo, especially in the figure of the Virgin. The marriage of the Virgin one of the finest compo sitions of the Giottesque school, is admirably conceived and arranged. It is one in which Agnolo replaced the art completely upon the basis of Giotto’s laws and maxims, and rivalled the simplicity of the great regenerator of Italian art. 5 1 The fresco is, however, much damaged by time and restoring. 2 Anna receiving the angel is depicted in a tower in the dis tance. Two females accompanying her in the principal scene are fine in proportion, action, and dra pery. 3 The background and dress of the figure with the child are da maged. The nurses playing with the infant are affectionate and pleasing. 4 The Virgin ascends the steps of the temple turning her look on her mother. Her green dress is repainted. The dress of the at tendant to the left of the high priest and the background gene rally have been retouched also. Her mother extends a comforting hand. Joachim is close by near two kneeling females. In the porch is a band of players and singers. 5 The blue dress of the high priest is new. In the arrange ment of the scene, the porch, under which the high priest stands to unite the pair, is placed with much judgment on the extreme right of the picture. Joseph and Mary join hands. Both are young, 30*