About the same time, Michelozzo executed for Piero the marble tabernacle destined to contain a figure of Christ in the nave of the basilica of San Miniato. It consists of a canopy supported on composite marble columns and pilasters, the interior richly decorated with rose-coloured ornaments of glazed earth in square panels. On the frieze is the Medicean device, the three feathers with the diamond ring and the motto _Semper_, on the arch the escutcheon of the Calimala guild, in relief. Inside the tabernacle stands the altar with painting and _predella_.[127] For Giovanni, Cosimo’s younger son, Michelozzo built on the heights of Fiesole a villa, visible from a great distance, which afterwards passed to the Mozzi family. The architect was also employed by connections of the Medici. For Giovanni Tornabuoni he built the great palace near Sta. Trinità, which still gives its name to the street. To gain more space, it afterwards became necessary to demolish the front part of this palace, which, with its ground floor of rustic-work and its plain arched windows, had a somewhat sombre effect. While Michelozzo’s time was chiefly taken up by the Medici, Brunelleschi was active in other quarters. The progress and final completion of his great work, the dome of the cathedral, has already been mentioned. On August 30, 1436, the roofing-in was celebrated by the pealing of all the bells in the city and the chanting of a _Te Deum_. Eight years later the scaffolding was raised for building the lantern, which was begun in 1446, shortly before the death of the great master, who was succeeded by Michelozzo.[128] His beautiful arcade at the Foundling Hospital has been mentioned. The similar loggia of San Paolo was placed opposite Sta. Maria Novella, at the southern end of the piazza. He built a chapel for the Pazzi family in the front court of the convent of Sta. Croce. Its walls are covered with Corinthian pilasters, high niches, and terra-cotta alto-rilievos; the cupola rests on two side-arches richly panelled and decorated with designs in glazed earth; the pendants being ornamented with terra-cotta rilievos of the Evangelists. Decoration and colour are here kept just within the limits of good taste. Andrea de’ Pazzi began the building, which was finished by his son Jacopo, so that Brunelleschi can hardly have lived to see its completion.[129] The official residence of the Capitani di parte Guelfa in the Via delle Terme, rebuilt by Brunelleschi, still exists, though with many alterations. The architect saw only the beginnings of his second greatest work, the palace of Luca Pitti. In Vasari’s time, when Eleonora di Toledo, Duchess of Florence, purchased the unfinished building—appropriately called, by an art-writer of those days, _muraglia_—the original plan was no longer to be found. Many alterations were made in succeeding centuries down to the present, when the extensive wings, intended as halls, were built. But the façade has