Next, Simone painted three walls of the Chapter-house of the said S. Maria Novella, very happily. On the first, which is over the door whereby one enters, he made the life of S. Dominic; and on that which follows in the direction of the church, he represented the Religious Order of the same Saint fighting against the heretics, represented by wolves, which are attacking some sheep, which are defended by many dogs spotted with black and white, and the wolves are beaten back and slain. There are also certain heretics, who, being convinced in disputation, are tearing their books and penitently confessing themselves, and so their souls are passing through the gate of Paradise, wherein are many little figures that are doing diverse things. In Heaven is seen the glory of the Saints, and Jesus Christ; and in the world below remain the vain pleasures and delights, in human figures, and above all in the shape of women who are seated, among whom is the Madonna Laura of Petrarca, portrayed from life and clothed in green, with a little flame of fire between her breast and her throat. There is also the Church of Christ, and, as a guard for her, the Pope, the Emperor, the Kings, the Cardinals, the Bishops, and all the Christian Princes; and among them, beside a Knight of Rhodes, is Messer Francesco Petrarca, also portrayed from the life, which Simone did in order to enhance by his works the fame of the man who had made him immortal. For the Universal Church he painted the Church of S. Maria del Fiore, not as it stands to-day, but as he had drawn it from the model and design that the architect Arnolfo had left in the Office of Works for the guidance of those who had to continue the building after him; of which models, by reason of the little care of the Wardens of Works of S. Maria del Fiore, as it has been said in another place, there would be no memorial for us if Simone had not left it painted in this work. On the third wall, which is that of the altar, he made the Passion of Christ, who, issuing from Jerusalem with the Cross on His shoulder, is going to Mount Calvary, followed by a very great multitude. Arriving there, He is seen raised on the Cross between the Thieves, with the other circumstances that accompany this story. I will say nothing of there being therein a good number of horses, of the casting of lots by the servants of the court for the garments of Christ, of the raising of the Holy Fathers from the Limbo of Hell, and of all the other well-conceived inventions, which belong not so much to a master of that age as to the most excellent of the moderns; inasmuch as, taking up the whole walls, with very diligent judgment he made in each wall diverse scenes on the slope of a mountain, and did not divide scene from scene with ornamental borders, as the old painters were wont to do, and many moderns, who put the earth over the sky four or five times, as it is seen in the principal chapel of this same