The seven small cells on the right (15-21) were assigned to the Juniors, the younger friars who had just passed through the Noviciate. Each contains a fresco by Angelico of St. Dominic at the foot of the Cross, now scourging himself, now absorbed in contemplation, now covering his face with his hands, but in no two cases identical. Into one of these cells a divine apparition was said to have come to one of these youths, after hearing Savonarola's "most fervent and most wondrous discourse" upon the mystery of the Incarnation. The story is told by Simone Filipepi:-- "On the night of the most Holy Nativity, to a young friar in the convent, who had not yet sung Mass, had appeared visibly in his cell on the little altar, whilst he was engaged in prayer, Our Lord in the form of a little infant even as when He was born in the stable. And when the hour came to go into the choir for matins, the said friar commenced to debate in his mind whether he ought to go and leave here the Holy Child, and deprive himself of such sweetness, or not. At last he resolved to go and to bear It with him; so, having wrapped It up in his arms and under his cowl as best he could, all trembling with joy and with fear, he went down into the choir without telling anyone. But, when it came to his turn to sing a lesson, whilst he approached the reading-desk, the Infant vanished from his arms; and when the friar was aware of this, he remained so overwhelmed and almost beside himself that he commenced to wander through the choir, like one who seeks a thing lost, so that it was necessary that another should read that lesson." Passing back again down the corridor, we see in the cells two more Crucifixions (22 and 23); the Baptism of Christ with Madonna as witness (24), the Crucifixion (25); then, passing the great Madonna fresco, the Mystery of the Passion (26), in one of those symbolical representations which seem to have originated with the Camaldolese painter, Don Lorenzo; Christ bound to the pillar, with St. Dominic scourging himself and the Madonna appealing to us (27, perhaps by a pupil); Christ bearing the Cross (28); two more Crucifixions (29 and 30), apparently not executed by Angelico himself. At the side of Angelico's Annunciation opposite the stairs, we enter the cell of St. Antoninus (31). Here is one of Angelico's most beautiful and characteristic frescoes, Christ's descent into Hades: "the intense, fixed, statue-like silence of ineffable adoration upon the spirits in prison at the feet of Christ, side by side, the hands lifted and the knees bowed, and the lips trembling together," as Ruskin describes it. Here, too, is the death mask of Antoninus, his portrait perhaps drawn from the death mask by Bartolommeo, his manuscripts and relics; also a tree of saintly Dominicans, Savonarola being on the main trunk, the third from the root.