6.  The Marriage to Joseph, and the rage and disappointment of the other suitors.

The second wall is divided by a large window of the richest stained glass, on each side of which the subjects are arranged.

7.  The Annunciation.  This is peculiar.  Mary, not throned or standing, but seated on the ground, with her hands clasped, and an expression beautiful for devotion and humility, looks upwards to the descending angel.

8.  The Meeting of Mary and Elizabeth.

9.  The Annunciation to the Shepherds.

10.  The Nativity.

11.  The Wise Men behold the Star in the Form of a Child.

12.  They approach to Worship.  Under the window is the altar, no longer used as such; and behind it a small but beautiful triptych of the Coronation of the Virgin, by Giotto, containing at least a hundred heads of saints, angels, &c.; and on the wall opposite is the large fresco of the Assumption, by Mainardi, in which St. Thomas receives the girdle, the other Apostles being omitted.  This is of much later date, being painted about 1495.

The series of five subjects in the Rinuccini Chapel (in the sacristy of the same church) has been generally attributed to Taddeo Gaddi, but I agree with those who gave it to a different painter of the same period.

The subjects are thus arranged:—­1.  The Rejection of Joachim, which fills the whole arch at the top, and is rather peculiarly treated.  On the right of the altar advances a company of grave-looking Elders, each with his offering.  On the left, a procession of the matrons and widows “who had been fruitful in Israel,” each with her lamb.  In the centre, Joachim, with his lamb in his arms and an affrighted look, is hurrying down the steps. 2.  The Lamentation of Joachim on the Mountain, and the Meeting of Joachim and Anna. 3.  The Birth of the Virgin. 4.  The Presentation in the Temple. 5.  The Sposalizio of the Virgin, with which the series concludes; every event referring to her divine Son, even the Annunciation, being omitted.  On comparing these frescoes with those in the neighbouring chapel of the Baroncelli, the difference in feeling will be immediately felt; but they are very naive and elegant.

About a hundred years later than these two examples we have the celebrated series painted by Ghirlandajo, in the choir of S. Maria Novella at Florence.  There are three walls.  On the principal wall, facing us as we enter, is the window; and around it the Annunciation (as a mystery), then the principal saints of the Order to whom the church belongs,—­St. Dominic and St. Peter Martyr, and the protecting saints of Florence.

On the left hand (i.e. the right as we face the high altar) is the History of the Virgin; on the opposite side, the History of St. John the Baptist.  The various cycles relating to St. John as patron of Florence will be fully treated in the last volume of Legendary Art; at present I shall confine myself to the beautiful set of subjects which relate the history of the Virgin, and which the engravings of Lasinio (see the “Ancient Florentine Masters”) have rendered well known to the lovers of art.  They cover the whole wall and are thus arranged, beginning from the lowest on the left hand.