This poet has been warmly praised by M. Giovanni
Boccaccio in the introduction to the story of M. Forese da Rabatta.
In this same chapel Giotto has also painted his own portrait as well
as those of Ser Brunetto Latini, Dante's master, and M. Corso Donati,
a famous citizen of the time. Giotto's first paintings were in the
chapel of the high altar of the Badia at Florence, in which he made a
number of things which were considered beautiful, but especially an
Annunciation. In this he has represented with extraordinary truth the
fear and astonishment of the Virgin Mary at the salutation of
Gabriel, who, in her terror seems ready to run away. The picture of
the high altar in the same chapel is also by Giotto's hand, and it
has continued to retain its position there, rather because of a
certain reverence which is felt for the work of such a man than for
any other reason. In S. Croce there are four chapels decorated by his
hand, three between the sacristy and the principal chapel, and one on
the other side. In the first of these, that of M. Ridolfo de' Bardi,
in which the bell ropes hang, is the life of St Francis, at whose
death a number of friars exhibit the effect of weeping with
considerable fidelity to nature. In the second, which is that of the
family of the Peruzzi, are two subjects from the life of St John the
Baptist, to whom the chapel is dedicated. Here is a very life-like
representation of the dancing of Herodias, and of the promptitude
with which some servants are performing the service of the table. In
the same chapel are two miracles of St John the Evangelist, the one
representing the raising of Drusiana, the other his being caught up
into Heaven. The third chapel, that of the Giugni and dedicated to
the Apostles, contains representations by Giotto of the martyrdom of
many of them. In the fourth, that of the Tosinghi and Spinelli, which
is on the north side of the church and is dedicated to the Assumption
of Our Lady, Giotto painted the Nativity of the Virgin, her marriage,
the Annunciation, the adoration of the Magi, and the presentation of
the Christ child to Simeon. This last is a most beautiful thing, for
not only is the warmest love depicted in the face of the old man as
he receives the Christ, but the action of the child, who is afraid of
him and stretches out his arms to return to his mother, could not be
represented with more tenderness or greater beauty. In the Death of
Our Lady the Apostles are represe