The order of the drawings in the Arena Chapel is as follows:--
1. Joachim's Offering rejected by the High Priest. 2. Joachim retires to the Sheepfold. 3. The Angel appears to Anna. 4. The Sacrifice of Joachim. 5. The Angel appears to Joachim. 6. The Meeting of Joachim and Anna. 7. The Birth of the Virgin Mary. 8. The Presentation of the Virgin. 9. The Rods are brought to the High Priest. 10. The Watching of the Rods at the Altar. 11. The Espousal of the Virgin Mary. 12. The Virgin Mary returns to her Home. 13. The Annunciation--the Angel Gabriel. 14. The Annunciation--the Virgin Mary. 15. The Marriage of the Virgin. 16. The Salutation. 17. The Nativity. 18. The Wise Men's Offering. 19. The Presentation in the Temple. 20. The Flight into Egypt. 21. The Massacre of the Innocents. 22. The Young Christ in the Temple. 23. The Baptism of Christ. 24. The Marriage in Cana. 25. The Raising of Lazarus. 26. The Entry into Jerusalem. 27. The Expulsion from the Temple. 28. The Hiring of Judas. 29. The Last Supper. 30. The Washing of the Feet. 31. The Kiss of Judas. 32. Christ before Caiaphas. 33. The Scourging of Christ. 34. Christ bearing His Cross. 35. The Crucifixion. 36. The Entombment. 37. The Resurrection. 38. The Ascension. 39. The Descent of the Holy Spirit.
The first of this series which deserves especial attention is that numbered two in the above table, the representation of Joachim's retirement to the sheepfold, after his offering has been rejected by the high priest. This is especially remarkable as being the first of his series of the Arena frescoes in which Giotto's early training shows itself. Nothing can be more marked than the evident delight of the painter in depicting any form of this shepherd life. Throughout his works every opportunity of introducing animal nature, especially sheep nature, is eagerly seized and made the most of, and, as in this fresco, the animals have invariably a character of their own, and are by no means walking gentlemen in the scene represented. Look, for instance, at the varied action of the sheep in this composition, and the eager welcome that Joachim's dog is giving to his master. In the third and fourth pictures, too, of the _Sacrifice of Joachim_, and the subsequent appearance of the angel, is the delight of the painter in animal idiosyncrasies apparent, as in the two rams butting at one another, and the air of quiet watchfulness in which the dog lies down, with a sense of responsibility strong upon him.