On either side of the window (enlarged in 1837) in front of which stood the altar with the picture of the Madonna adoring the Infant Christ, by Filippo Lippi, now in the Berlin gallery, are groups of adoring angels with peacock wings, and behind them stand others singing. The landscape is worthy of the angels. From the flower-spangled grass rise hedges of roses and pomegranates, huge stone pines and slender cypresses; in the distance are grey towns with many towers, and in the sky above angels float amongst the clouds. Brilliantly coloured birds are flying here and there, while others perch on the ground at the feet of the kneeling angels. The walls of the chapel are entirely covered with the story of the Magii; only the Kings and their attendants are portraits of the time and the landscape is purely Tuscan. The centre figure on the north wall is a handsome, fair-haired youth, wearing a curious turban-like jewelled crown and riding a high-stepping white horse on whose gorgeous trappings are embroidered the Medici arms. He is supposed to be Lorenzo, the darling of his grandfather Cosimo. Behind him rides his father, Piero, grasping a lock of his horse’s mane with one hand and attended by a serving-man, evidently a portrait. Cosimo Pater Patriae rides beside him on a mule, a black slave running at his stirrup. Other members of the Medici family are no doubt depicted in the train of followers, amongst whom one discerns the stern, sagacious face of the painter himself, with _Opus Benotii_ written on his cap. A long line of horse and footmen are seen in the distance winding down the hills in a rocky landscape with here and there a tall cypress tree, denuded of its lower branches in the fashion still dear to Tuscan hearts. A hind is rushing up a slope chased by greyhounds and huntsmen. On the west wall, opposite the window, is another King on a splendidly caparisoned white horse, wearing a long green tunic of Oriental cut and a jewelled crown on his head with the points curving inwards. He is the Emperor John Paleologus who came to Florence to attend the Council, and round him are graceful, lithe, young pages on foot, while others follow on horseback crowned with wreaths of pink roses. The landscape is rocky and broken, winding roads lead up to fortified hill-towns and castles, and rivers rush down to the plain. A window has been cut in this wall, but without doing the irreparable damage committed by the Marchese Francesco Riccardi who, in order to widen the staircase leading from the courtyard up to the first floor, cut a corner out of the chapel. Part of the wall was utterly destroyed and the figure of the third King, the portrait of the Greek Patriarch, is cut in two. His mule has lost one leg, and the upper part of the fresco on the wall which was moved forwards is a daub by some inferior artist. Fortunately the lower part suffered less. The Patriarch wears a crown with high points, and is clothed in a cassock