The little refectory, which is at the foot of the stairs leading to the cells, opens on the second cloisters, and these few visitors ever enter. But they are of deep interest to any one with a passion for the Florence of the great days, for it is here that the municipality preserves the most remarkable relics of buildings that have had to be destroyed. It is in fact the museum of the ancient city. Here, for example, is that famous figure of Abundance, in grey stone, which Donatello made for the old market, where the Piazza Vittorio Emmanuele now is, in the midst of which she poured forth her fruits from a cornucopia high on a column for all to see. Opposite is a magnificent doorway designed by Donatello for the Pazzi garden. Old windows, chimney-pieces, fragments of cornice, carved pillars, painted beams, coats of arms, are everywhere. In cell No. 3 is a pretty little coloured relief of the Virgin adoring, which I covet, from a tabernacle in the old Piazza di Brunelleschi. Here too are relics of the guild houses of some of the smaller Arti, while perhaps the most humanly interesting thing of all is the great mournful bell of S. Marco in Savonarola's time, known as La Piagnone. In the church of S. Marco lie two of the learned men, friends of Lorenzo de' Medici, whose talk at the Medici table was one of the youthful Michelangelo's educative influences, what time he was studying in the Medici garden, close by: Angelo Poliziano (1454-1494), the poet and the tutor of the three Medici boys, and the marvellous Pico della Mirandola (1463-1494), the enchanted scholar. Pico was one of the most fascinating and comely figures of his time. He was born in 1463, the son of the Count of Mirandola, and took early to scholarship, spending his time among philosophies as other boys among games or S. Antonio at his devotions, but by no means neglecting polished life too, for we know him to have been handsome, accomplished, and a knight in the court of Venus. In 1486 he challenged the whole world to meet him in Rome and dispute publicly upon nine hundred theses; but so many of them seemed likely to be paradoxes against the true faith, too brilliantly defended, that the Pope forbade the contest. Pico dabbled in the black arts, wrote learnedly (in his room at the Badia of Fiesole) on the Mosaic law, was an amorous poet in Italian as well as a serious poet in Latin, and in everything he did was interesting and curious, steeped in Renaissance culture, and inspired by the wish to reconcile the past and the present and humanize Christ and the Fathers. He found time also to travel much, and he gave most of his fortune to establish a fund to provide penniless girls with marriage portions. He had enough imagination to be the close friend both of Lorenzo de' Medici and Savonarola. Savonarola clothed his dead body in Dominican robes and made him posthumously one of the order which for some time before his death he had desired to join. He died in