of Florence, biographer of Dante,--the outstretched recumbent figure of the grand old humanist, watched over by Mary and her Babe with the Angels, by Bernardo Rossellino. A worthy monument to a noble soul, whose memory is dear to every lover of Dante. Yet we may, not without advantage, contrast it with the simpler Gothic sepulchres on the floor of the transepts,--the marble slabs that cover the bones of the old Florentines who, in war and peace, did the deeds of which Leonardo and his kind wrote. The tombs and monuments in the left aisle are less interesting. Opposite Leonardo Bruni's tomb is that of his successor, Carlo Marsuppini, called Carlo Aretino (died 1453), by Desiderio da Settignano; he was a good Greek scholar, a fluent orator and a professed Pagan, but accomplished no literary work of any value; utterly inferior as a man and as an author to Leonardo, he has an even more gorgeous tomb. In this aisle there are modern monuments to Vespasiano Bisticci and Donatello; and, opposite to Michelangelo's tomb, that of Galileo himself (died 1642), with traces of old fourteenth century frescoes round it, which may, perhaps, symbolise for us the fleeting phantoms of mediæval thought fading away before the advance of science. In the central chapel of the left or northern transept is the famous wooden Crucifix by Donatello, which gave rise to the fraternal contest between him and Brunelleschi. Brunelleschi told his friend that he had put upon his cross a contadino and not a figure like that of Christ. "Take some wood then," answered the nettled sculptor, "and try to make one thyself." Filippo did so; and when it was finished Donatello was so stupefied with admiration, that he let drop all the eggs and other things that he was carrying for their dinner. "I have had all I want for to-day," he exclaimed; "if you want your share, take it: to thee is it given to carve Christs and to me to make contadini." The rival piece may still be seen in Santa Maria Novella, and there is not much to choose between them. Donatello's is, perhaps, somewhat more realistic and less refined.