Page:Vasari - Lives of the Most Excellent Painters, Sculptors, and Architects, volume 1.djvu/110

96 of monks lamenting the death of the saint: the expression of weeping is very natural. In the second chapel, which belongs to the family of Peruzzi, are two passages from the life of St. John the Baptist, to whom the chapel is dedicated, wherein the dancing of Herodias, and the promptitude with which certain servants are performing the service of the table, are depicted with extreme vivacity. Two other paintings in the same chapel, also exceedingly fine, are events from the life of St. John the Evangelist,—that wherein he restores Drusiana to life, and his own ascension into Heaven. The third chapel belongs to the Giugni family: it is dedicated to the Apostles; and Giotto has painted in it various scenes from the martyrdom of many of them. In the fourth chapel, which is on the other side of the church to the north, belonging to the families of Tosinghi and Spinelli, and dedicated to the Assumption of our Lady, he has depicted the following passages from the life of the Virgin: her birth, her marriage, her annunciation, the adoration of the magi, and the presentation of Christ in the Temple. This last is a most beautiful thing; for not only is the warmest expression of love to the child to be perceived on the face of the old man Simeon, but the act of the infant, who, being afraid of him, stretches its arms timidly and turns towards its mother, is depicted in a manner inexpressibly touching and exquisite. The Apostles and Angels, with torches in their hands, who surround the death-bed of the Virgin, in a succeeding picture, are also admirably well done. In the same church, and in the chapel of the Baroncelli family, is a picture in distemper, by the hand of Giotto: it represents the coronation of the Virgin, with a great number of small figures, and a choir of saints and angels, very carefully finished. On this work, the name of the master and the date are written in letters of gold. Artists who reflect on the period at which Giotto, without any light to guide him towards better me-