His general order is the Allegories of the Lower Church and the Baroncelli altar-piece about 1300, the Arena frescoes 1305, the St. Francis series in the Upper Church about 1310, the Peruzzi Chapel about 1312, etc.
My list would be:
| The Early Part of the St. Francis Series (II-XVIII) | before | 1300 |
| The Mosaic of the Navicella (completely restored) | about | 1300 |
| Stigmatization of St. Francis (Louvre) | „ | „ |
| The Arena Frescoes | about | 1305 |
| The Madonna of Ognissanti | „ | „ |
| The Franciscan Allegories, Lower Church (design only) | „ | 1312–20 |
| The Stefaneschi Altar-piece (in part) | „ | 1320, perhaps earlier |
| The Peruzzi Chapel, Santa Croce | after | 1320 |
| The Bardi Chapel, „ „ | about | 1325 |
| The Dormition of the Virgin, at Berlin | „ | 1325 |
| Madonna, Ancona, Bologna (design only) | „ | 1330 |
| The Paradise in the Bargello | after | 1330 |
| Part of the Magdalen Legends there | „ | „ |
| Part of the Magdalen Legends, Lower Church, Assisi | „ | „ |
| Baroncelli Altar-piece (design only) | „ | „ |
| Small panels of the Life of Christ | ||
| at New York, Fenway Court, Boston; | „ | „ |
| Munich and Berenson Collection, | „ | „ |
| Settignano (bottega works) | „ | „ |
[8]. Padre Angelis, Collis Paradisi, 1704, I, p. 33.
[9]. About the 28 stories of St. Francis there is no agreement except that Nos. I and XXVI-VIII are by the “Cecelia Master.” Venturi sees Giotto only in the later stories. I agree with Berenson that the ruder frescoes, II-XVIII, which are based on the so-called Roman work above show us Giotto at his beginnings. For the various views consult Brown and Rankin, A Short History, pp. 48–9, 59, 61.
[10]. Alex. Romdahl’s attempt to set the upper row many years later than the rest is entirely unconvincing to me. See Jahrbuch der K. Preussischen Kunstsammlungen, 1911, pp. 3–18.
[11]. John Ruskin, Mornings in Florence, passim.
[12]. Giotto’s Followers. Osvald Sirén, Giotto and Some of his Followers, see note 7, may be freely consulted for illustrations and very cautiously for attributions.
[13]. Peleo Bacci’s ascription of the recently discovered Passion frescoes in the Badia to Buffalmacco seems reasonable, Bollettino d’ Arte, V (1911) pp. 1–27. Dr. Sirén ascribes these frescoes to Nardo di Cione and follows Venturi in identifying Buffalmacco with the “Cecelia Master.” Burlington Magazine, Vol. XXXVI, p. 10. The hypothesis still lacks solid foundation.
[14]. By Vasari the Spanish Chapel was divided between Taddeo Gaddi and Simone Martini. C. &. C. discovered that the work was by an Andrea da Firenze who as a document attests painted stories of S. Ranieri at Pisa, in 1377. The contract which proves this Andrea to have been Andrea Bonaiuti, active 1343–77, was published in Arte e Storia, Florence, Feb., 1917, p. 33. It gives the date of the contract for the Spanish Chapel, 1365.