f. Santa Maria Novella. FLORENCE. 64. Route. 531
of John the Baptist. The first scene, below, Zacharias in the Temple, is
celebrated for the number of portraits which are introduced in a remark-
ably easy and lifelike manner. The figures below to the left are said to
be portraits of Cristoforo Landini, Angelo Poliziano, and Marsilio Ficino,
distinguished scholars and humanists. The other scenes are the Visitation,
Nativity of John, the Naming of the child, the Baptist preaching repentanee
(in which the master shows his art in grouping and individualising the
figures), Baptism of Christ, and Dancing of the Daughter of Herodias.
Several of these works are defaced almost beyond recognition. — The
stained glaS3 (1492) was executed by Alessandro Florentino. — The choir-
stalls are by Baccio d'Agnolo, partly restored by Vasari. At the back of the
altar is a 'Brass to the memory of Lionardo Dati (d. 1424) by Lor. Ghiberti.
The Cappella Gondi to the left of the choir, by Giuliano da Sangallo,
contains the celebrated wooden 'Crucifix of Brunelleschi, which gave rise
to the rivalry between him and his friend Donatello (p. 507). — The
following Gaddi Chapel, by G. A. Dosio, is adorned with bas-reliefs by
Giov. dall' Opera.
Left Transept. The Strozzi Chapel, to which steps ascend, contains
celebrated 'Frescoes, unfortunately badly lighted, of the School of Giotto:
opposite the entrance, the Last Judgment (among the elect, to the left in
the top row, Dante praying and Petrarch in priestly dress); (1.) Paradise,
over the figures in which broods a truly celestial repose, by Andrea Orcagna;
Hell (r.) according to Dante, by Andrea's brother Nardo di done; altar-
piece, Christ with SS. Thomas Aquinas and Peter, completed in 1357, by
Andrea. — The next door, in the comer, leads to the Sacristy, the most
interesting object in which is a fountain by Giov. della Robbia (1497), a
magniflcent work of its kind. In the lst case on the left are some fine
Spanish vestments of the 14th century.
A door to the right of the steps to the Strozzi Chapel (opened by the
sacristán; 30-50 c.) admita to the so-called Sepolcreto, or burial vault, with
an open colonnade and frescoes of the 14th century. To the left we enter
the Ancient Cloisters, called II Chiostro Verde, restored in 1895. The E.
wall is adorned with oíd and much injured frescoes in térra verde (different
shades of green). Those in the three first lunettes, representing the Creation,
the Expulsión from Paradise, Cain and Abel, and the Building of the Ark,
are by followers of Giotto (?). The Deluge, in which the artist has depicted
with great power the helplessness of man in presence of the fury of the
elements, in the fourth lunette, and the Offering and Drunkenness of Noah,
are by Paolo Uccello (about 1446). — To the right (N.) in the cloisters is
the 'Cappella degli Spagnuoli (best light, 10-12), formerly the chapter-
house, and bearing its present ñame because assigned to the Spanish
residents of Florence in 1566. It was built about 1355 and restored in lt93.
The frescoes (restored) of Giotto's School are attributed by Vasari to Taddeo
Gaddi and Simone Mariini (?) but by more modern critics to Andrea da
Firenze. Most of them are merely second-rate works, though interesting
to the student of art. Their subjects follow the doctrines of Thomas
Aquinas, the great Dominican saint. On the wall of the altar i3 a large
and crowded painting of the Crucifixión, and below it, to the left, Bearing
of the Cross, to the right, Christ in Hades; on the ceiling, the Resurrection,
Ascensión, Descent of the Holy Ghost, Christ and Peter on the water.
On the E. side (r.) the Church Militant and Triumphant, suggested by
Thomas Aquinas's commentary on the Song of Solomon: beneath, to the
left, in front of the cathedral of Florence (an ideal representation of the
then unfinished building), appear the pope with his flock and the members
of the church, and the emperor with the representatives of secular power;
to the right, the heretics are represented as wolves hunted by the Dominicans
in the form of black and white dogs ('Domini canes'), also their conversión;
above, the joy of the blessed and admission to heaven; at the top, Christ
in glory surrounded by angels. — On the W. side (1.), Triumph of Thomas
Aquinas, surrounded by angels, prophets, and saints, in his hand an open
book; at his feet the discomfited heretics Arius, Sabellius, and Averrhoés.
Below, 28 figures representing arts and sciences approved by the church.
On the wall of the door, Histories of St. Dominic and St. Peíer Martyr.