On the other wall are stories of S. John, and in the first is Zacharias sacrificing in the Temple, when the Angel appears to him and makes him dumb for his unbelief. In this scene, showing how sacrifices in temples are ever attended by a throng of the most distinguished men, and wishing to make it as honourable as he was able, he portrayed a good number of the Florentine citizens who then governed that State, particularly all those of the house of Tornabuoni, both young and old. Besides this, in order to show that his age was rich in every sort of talent, above all in learning, he made a group of four half-length figures conversing together at the foot of the scene, representing the most learned men then to be found in Florence. The first of these, who is wearing the dress of a Canon, is Messer Marsilio Ficino; the second, in a red mantle, with a black band round his neck, is Cristofano Landino; the figure turning towards him is Demetrius the Greek; and he who is standing between them, with one hand slightly raised, is Messer Angelo Poliziano; and all are very lifelike and vivacious. In the second scene, next to this, there follows the Visitation of Our Lady to S. Elizabeth, with a company of many women dressed in costumes of those times, among whom is a portrait of Ginevra de' Benci, then a most beautiful maiden. In the third, above the first, is the birth of S. John, wherein there is a very beautiful scene, for while S. Elizabeth is lying in bed, and certain neighbours come to see her, and the nurse is seated suckling the infant, one woman is joyfully demanding it from her, that she may show to the others what an unexampled feat the mistress of the house has performed in her old age. Finally, there is a woman, who is very beautiful, bringing fruits and flasks from the country, according to the Florentine custom. In the fourth scene, next to this, is Zacharias, still dumb, marvelling--but with undaunted heart--that this child should have been born to him; and while they keep asking him about the name, he is writing on his knee, with his eyes fixed on his son, whom a woman who has knelt down before him is holding reverently in her arms, and he is tracing with his pen on the paper, "John shall be his name," to the no little marvel of many other figures, who appear to be in doubt whether the thing be true or not. There follows in the fifth his preaching to the multitude, in which scene there is shown that attention which the populace ever gives when hearing new things, particularly in the heads of the Scribes, who, while listening to John, appear from a certain expression of countenance to be deriding his law, and even to hate it; and there are seen many men and women, variously attired, both standing and seated. In the sixth S. John is seen baptizing Christ, in whose reverent expression Domenico showed very clearly the faith that should be placed in such a Sacrament. And since this did not fail to achieve a