His most remarkable wall-painting is a fresco of the Apostles visiting the Virgin, the motive of which is marked by great originality.[155] Our Lady is seated in an open loggia with a company of holy men and women round her.

Descending from the sky and floating through the arches are three of the Apostles, while one who has just alighted from his aerial transit kneels and folds his hands in adoration.

Seldom have the longing and the peace of loving worship been more poetically expressed than here.

The seated, kneeling, standing, and flying figures are admirably grouped together; their draperies are dignified and massive; and the architectural accessories help the composition by dividing it into three balanced sections.
Such power of depicting movement was rare in the fourteenth century.

To find its analogue, we must betake ourselves to the frescoes of Spinello Aretino, a master more decidedly Giottesque than his contemporary Taddeo di Bartolo.[156] A Gabriel, rushing down from heaven to salute Madonna, with all the whirr of arch-angelic pinions and the glory of Paradise around him, is a fine specimen of Spinello's vehemence.