It was only subsequent to the year 1300, that the names, united to the productions of the Venetians, began to make themselves manifest; when, partly by the examples held out by Giotto, partly by their own assiduity and talent, the painters of the city and of the state visibly improved, and softened the harshness of their manner. Giotto, according to a MS. cited by Rossetti,[8] was at Padua in 1306; according to Vasari, he returned from Avignon in 1316; and a little while afterwards he was painting at Verona, in the palace of Can della Scala, and at Padua, employed on a chapel in the church of the titular saint. He adds, that towards the close of his days he was again invited there, and embellished other places with his pieces. Nothing, however, remains of him in Verona; but in Padua there still exists the chapel of the Nunziata all'Arena, divided all round into compartments, in each of which is represented some scriptural event. It is truly surprising to behold, not less on account of its high state of preservation, beyond any other of his frescos, than for its full expression of native grace, together with that air of grandeur which Giotto so well knew how to unite. With respect to the chapel, it is believed that Vasari was less accurately informed, inasmuch as Savonarola, who has been cited by Sig. Morelli,[9] relates that Giotto ornamented the little church of the Arena, _capitulumque Antonii nostri_, and the chapter _of our St. Antony_. And in fact, in the apartment of the chapter house, there yet remain several traces of ancient painting, though turned white with age. In a very ancient MS., of the year 1312,[10] there is made mention of his also having been employed _in Palatio Comitis_, which others suppose ought to be read _Communis_, intended to apply to the Saloon, of which I shall shortly have to give some account.