But the great attraction of this church is the Sassetti Chapel next to the sacristy, which contains a splendid series of frescoes painted in 1485 by Domenico Ghirlandaio. The altar piece is only a copy of the original, now in the Accademia. The frescoes represent scenes from the life of St. Francis, and should be compared with Giotto's simpler handling of the same theme in the Bardi Chapel at Santa Croce. We have the Saint renouncing the world, the confirmation of his rule by Honorius, his preaching to the Soldan, his reception of the Stigmata, his death and funeral (in which the life-like spectacled bishop aroused Vasari's enthusiastic admiration), and the raising to life of a child of the Sassetti family by an apparition of St. Francis in the Piazza outside the church. The last is especially interesting as giving us a picture of the Piazza in its former state, such as it might have been in the Mayday faction fight, with the Spini Palace, the older bridge, and the houses of the Frescobaldi beyond the river. Each fresco is full of interesting portraits; among the spectators in the consistory is Lorenzo the Magnificent; Ghirlandaio himself appears in the death scene; and, perhaps, most interesting of all, if Vasari's identification can be trusted, are the three who stand on the right near the church in the scene of the resuscitation of the child. These three are said to be Maso degli Albizzi, the founder of the party of the Ottimati, those _nobili popolani_ who held the State before they were eclipsed by the Medici; Agnolo Acciaiuoli, who was ruined by adhering to Luca Pitti against Piero dei Medici; and that noblest of all the Medicean victims, Palla Strozzi (_see_ chapter iii.). It should, however, be remembered that Maso degli Albizzi had died nearly seventy years before, and that not even Palla Strozzi can be regarded as a contemporary portrait. The sacristy of this church was founded by the Strozzi, and one of the house, Onofrio, lies buried within it. Extremely fine, too, are the portraits of Francesco Sassetti himself and his wife, kneeling below near the altar, also by Ghirlandaio, who likewise painted the sibyls on the ceiling and the fresco representing the sibyl prophesying of the Incarnation to Augustus, over the entrance to the chapel. The sepulchral monuments of Francesco and his wife are by Giuliano da San Gallo. The famous Crucifix of San Miniato, which bowed its head to San Giovanni Gualberto when he spared the murderer of his brother, was transferred to Santa Trinità in 1671 with great pomp and ceremony, and is still preserved here.