Of Orcagna it is difficult to speak, as only a single fairly intact painting of his remains, the altar-piece in S. Maria Novella. Here he reveals himself as a man of considerable endowment: as in Giotto, we have tactile values, material significance; the figures artistically exist. But while this painting betrays no peculiar feeling for beauty of face and expression, the frescoes in the same chapel, the one in particular representing Paradise, have faces full of charm and grace. I am tempted to believe that we have here a happy improvement made by the recent restorer. But what these mural paintings must always have had is real artistic existence, great dignity of slow but rhythmic movement, and splendid grouping. They still convince us of their high purpose. On the other hand, we are disappointed in Orcagna’s sculptured tabernacle at Or Sammichele, where the feeling for both material and spiritual significance is much lower.