The first cloister is surrounded by later frescoes, scenes from the life of St. Antoninus, partly by Bernardino Poccetti and Matteo Rosselli, at the beginning of the seventeenth century. They are not of great artistic value, but one, the fifth on the right of the entrance, representing the entry of St. Antoninus into Florence, shows the old façade of the Duomo. Like gems in this rather indifferent setting, are five exquisite frescoes by Angelico in lunettes over the doors; St. Thomas Aquinas, Christ as a pilgrim received by two Dominican friars, Christ in the tomb, St. Dominic (spoilt), St. Peter Martyr; also a larger fresco of St. Dominic at the foot of the Cross. The second of these, symbolising the hospitality of the convent rule, is one of Angelico's masterpieces; beneath it is the entrance to the Foresteria, the guest-chambers. Under the third lunette we pass into the great Refectory, with its customary pulpit for the novice reader: here, instead of the usual Last Supper, is a striking fresco of St. Dominic and his friars miraculously fed by Angels, painted in 1536 by Giovanni Antonio Sogliani (a pupil of Lorenzo di Credi); the Crucifixion above, with St. Catherine of Siena and St. Antoninus, is said to be by Fra Bartolommeo. Here, too, on the right is the original framework by Jacopo di Bartolommeo da Sete and Simone da Fiesole, executed in 1433, for Angelico's great tabernacle now in the Uffizi. Angelico's St. Dominic appropriately watches over the Chapter House, which contains the largest of Fra Giovanni's frescoes and one of the greatest masterpieces of religious art: the Crucifixion with the patron saints of Florence, of the convent, and of the Medici, the founders of the religious orders, the representatives of the zeal and learning of the Dominicans, all gathered and united in contemplation around the Cross of Christ. It was ordered by Cosimo dei Medici, and painted about 1441. On our left are the Madonna, supported by the Magdalene, the other Mary, and the beloved Disciple; the Baptist and St. Mark, representing the city and the convent; St. Lawrence and St. Cosmas (said by Vasari to be a portrait of Nanni di Banco, who died twenty years before), and St. Damian. On our right, kneeling at the foot of the Cross, is St. Dominic, a masterpiece of expression and sentiment; behind him St. Augustine and St. Albert of Jerusalem represent Augustinians and Carmelites; St. Jerome, St. Francis, St. Bernard, St. John Gualbert kneel; St. Benedict and St. Romuald stand behind them, while at the end are St. Peter Martyr and St. Thomas Aquinas. All the male heads are admirably characterised and discriminated, unlike Angelico's women, who are usually either merely conventionally done or idealised into Angels. Round the picture is a frieze of prophets, culminating in the mystical Pelican; below is the great tree of the Dominican order, spreading out from St. Dominic himself in the centre, with Popes Innocent V. and Benedict XI. on either hand.