and draperies similar to those on the ceilings of Maso- lino in the Baptistery at Castiglione. Half busts of apostles and saints in the vaulting of the entrance arch are da maged like the rest. Outside and above the arch, the Virgin receives the visit of the announcing angel, and to the left, S. Christopher carries the Saviour across the stream. 1 The general appearance of the paintings in the chapel reveals the genius of a youth in the rise of his career, wavering in the midst of those contradictions and im perfections which naturally mark a first effort. By the side of fine and well conceived figures stand others of an affected character, of slender or otherwise feeble frame. Indecision is mingled with energy, fire, and passion, the result of an imperfect mastery over self, and of a cer tain hesitation as regards the course to pursue. Com pared with Masolino’s works at Castiglione these exhibit a less complete study and rendering of form, a less natu ral delineation of the human features. They have some of the character of Masolino and reveal his comrade or pupil, youthful, promising, but as yet below the level of even the earliest frescos of the Brancacci chapel. As regards technical execution, no more appropriate re mark can be made than that it is the same pursued by the successive artists who trace their educational descent from Antonio Veniziano to Masolino. 2 Some heads may be said to exhibit intelligence of form, but the shadows are generally more powerful than those of Masolino. The general tone, however, insofar as one can judge from a greatly repainted series, is rosy, light, and perhaps a little feeble. Greater simplicity in the draperies and less festooning place the painter in contrast with Masolino. A truer harmony between the architecture and the figures, 1 This is all much damaged. In the key of the arch is a scutcheon surmounted by a cardinal’s hat. 2 The ground at S. Clemente is prepared smooth and light, exact ly as it was by Masolino. The first painting was a slight water colour verging to grey in shadow, a yellowish tone in light, the for mer strengthened with warm fluid glazes, the passages stippled, and the high lights laid thickly on.