A little more to the east are the church and suppressed convent of Santa Maria Maddalena de' Pazzi. In the church, which has a fine court designed by Giuliano da San Gallo, is a Coronation of the Madonna by Cosimo Rosselli; in the chapter-house of the convent is a Crucifixion by Perugino, painted in the closing years of the Quattrocento, perhaps the grandest of all his frescoes. In Ruskin's chapter on the _Superhuman Ideal_, in the second volume of _Modern Painters_, he cites the background of this fresco (together with Benozzo Gozzoli's in the Palazzo Riccardi) as one of the most perfect examples of those ideal landscapes of the religious painters, in which Perugino is supreme: "In the landscape of the fresco in Sta. Maria Maddalena at Florence there is more variety than is usual with him: a gentle river winds round the bases of rocky hills, a river like our own Wye or Tees in their loveliest reaches; level meadows stretch away on its opposite side; mounds set with slender-stemmed foliage occupy the nearer ground, and a small village with its simple spire peeps from the forest at the bend of the valley." Beyond is the church of Sant' Ambrogio, once belonging to the convent of Benedictine nuns for whom Fra Lippo Lippi painted his great Coronation of Madonna. The church is hardly interesting at present, but contains an Assumption by Cosimo Rosselli, and, in the chapel of the Blessed Sacrament, a marble tabernacle by Mino da Fiesole and a fresco by Cosimo Rosselli painted in 1486, representing the legend of a miraculous chalice with some fine Florentine portrait heads, altogether above the usual level of Cosimo's work.