The left wall is perhaps the favourite. We begin with Joachim being driven from the Temple, one of the lowest pair; and this has a peculiar interest in giving us a portrait of the painter and his associates--the figure on the extreme right being Benedetto Mainardi; then Domenico Ghirlandaio; then his father; and lastly his brother David. On the opposite side of the picture is the fated Lorenzo Tornabuoni, of whom I have spoken above, the figure farthest from the edge, with his hand on his hip. The companion picture is the most popular of all--the Birth of the Virgin--certainly one of the most charming interiors in Florence. Here again we have portraits--no doubt Tornabuoni ladies--and much pleasant fancy on the part of the painter, who made everything as beautiful as he could, totally unmindful of the probabilities. Ruskin is angry with him for neglecting to show the splashing of the water in the vessel, but it would be quite possible for no splashing to be visible, especially if the pouring had only just begun; but for Ruskin's strictures you must go to "Mornings in Florence," where poor Ghirlandaio gets a lash for every virtue of Giotto. Next--above, on the left--we have the Presentation of the Virgin and on the right her Marriage. The Presentation is considered by Mr. Davies to be almost wholly the work of Ghirlandaio's assistants, while the youthful Michelangelo himself has been credited with the half-naked figure on the steps, although Mr. Davies gives it to Mainardi. Mainardi again is probably the author of the companion scene. The remaining frescoes are of less interest and much damaged; but in the window wall one should notice the portraits of Giovanni Tornabuoni and Francesca di Luca Pitti, his wife, kneeling, because this Giovanni was the donor of the frescoes, and his sister Lucrezia was the wife of Piero de' Medici and therefore the mother of Lorenzo the Magnificent, while Francesca Tornabuoni, the poor lady who died in childbirth, was the daughter of that proud Florentine who began the Pitti palace but ended his life in disgrace. And so we leave this beautiful recess, where pure religious feeling may perhaps be wanting but where the best spirit of the Renaissance is to be found: everything making for harmony and pleasure; and on returning to London the visitor should make a point of seeing the Florentine girl by the same hand in our National Gallery, No. 1230, for she is very typical of his genius.