So it was known that Joseph was to take charge of the young maid, and all the rest of the suitors seized their staves and broke them across their knees in rage and disappointment. Then the story goes on to the birth of our Saviour as it is told to you in the Bible. It was this story which Ghirlandaio painted on the walls of the chapel, as well as the history of John the Baptist. Then, as Giovanni directed, he painted the arms of the Tournabuoni on various shields all over the chapel, and only in the tabernacle of the sacrament on the high altar he painted a tiny coat of arms of the Ricci family. The chapel was finished at last and every one flocked to see it, but first of all came the Ricci, the owners of the chapel. They looked high and low, but nowhere could they see the arms of their family. Instead, on all sides, they saw the arms of the Tournabuoni. In a great rage they hurried to the Council and demanded that Giovanni Tournabuoni should be punished. But when the facts were explained, and it was shown that the Ricci arms had indeed been placed in the most honourable part, they were obliged to be content, though they vowed vengeance against the Tournabuoni. Neither did Ghirlandaio get his extra two hundred gold pieces, for although Giovanni was delighted with the frescoes he never paid the price he had promised. To the end of his days Ghirlandaio loved nothing so much as to work from morning till night. Nothing was too small or mean for him to do. He would even paint the hoops for women's baskets rather than send any work away from his shop. 'Oh,' he cried, one day, 'how I wish I could paint all the walls around Florence with my stories.' But there was no time to do all that. He was only forty-four years old when Death came and bade him lay down his brushes and pencil, for his work was done. Beneath his own frescoes they laid him to rest in the church of Santa Maria Novella. And although we sometimes miss the soul in his pictures and weary of the gay outward decoration of goldsmith's work, yet there is something there which makes us love the grand show of fair ladies and strong men in the carefully finished work of this Florentine 'Maker of Garlands.' FILIPPINO LIPPI The little curly-haired Filippino, left in the charge of good Fra Diamante, soon showed that he meant to be a painter like his father. When, as a little boy, he drew his pictures and showed them proudly to his mother, he told her that he, too, would learn some day to be a great artist. And she, half smiling, would pat his curly head and tell him that he could at least try his best. Then, after that sad day when Lucrezia heard of Filippo's death, and the happy little home was broken up, Fra Diamante began in earnest to train the boy who had been left under his care. He had plenty of money, for Filippo had been well paid for the work at Spoleto, and so it was decided that the boy should be placed in some studio where he could be taught all that was necessary.