In the same chapel is a remarkable picture representing the Piazza of the Trinità with St. Francis resuscitating a boy of the Spini family, Figure 123. It has extraordinary bits of invention, but lacks the organization of the fresco just discussed. The altar-piece for the chapel, an Adoration of the Shepherds, now in the Uffizi, represents the graciousness of Ghirlandaio in familiar narrative his willing acceptance of the panoramic richness of the age, and his exceptional power of portraiture in these rustics painted from himself and from members of the Sassetti family. The ruggedness of the characterization suggests Flemish painting. Ghirlandaio may well have been influenced by the great Nativity with Portraits which Hugo van der Goes sent down from Ghent, in 1476, to the Hospital Church of Santa Maria Nuova. Ghirlandaio’s altar-pieces are many. They are brilliant without real harmony of color; pretty, without much insight, in the types of the Virgin and youthful saints. The most elaborate of these panels, An Adoration of the Magi, Figure 124, was finished in 1488 for the Foundling Hospital dedicated to the Massacred Innocents of Bethlehem. It still stands on its original altar in the chapel of the Innocenti, and is a radiant thing. The crowded group of adorers in the foreground is well knit together. Ghirlandaio had taken a shrewd look at Botticelli’s Epiphany (now at Petrograd), or at Leonardo da Vinci’s unfinished masterpiece. By a touching and appropriate invention, Ghirlandaio has set two of the martyred Innocents kneeling in white robes and crowned with a saint’s nimbus among the Wise Men. There are, as usual, many portraits, including Ghirlandaio’s own, by the pillar at the right. The deep river valley, suggested by northern paintings or engravings, relieves the somewhat congested character of the figure arrangement. The girlish Madonna would do no discredit to the front cover of a nation-wide periodical today. So gracious and ingenious is this picture that one regrets to note that it is rather cleverly staged than deeply felt, its manifold prettiness and picturesqueness, of a quite obvious character.