fresco; it may be said to mark the advent of a new element in Italian art. Thence we pass into the early Renaissance with Brunelleschi and Ghiberti, with Ghirlandaio and Filippino Lippi. In the chapel to the left of the choir hangs Filippo Brunelleschi's famous wooden Crucifix, carved in friendly rivalry with Donatello. The rival piece, Donatello's share in this sculptured _tenzone_, has been seen in Santa Croce. In the choir are frescoes by Domenico Ghirlandaio, and a fine brass by Lorenzo Ghiberti. These frescoes were begun in 1486, immediately after the completion of the Santa Trinità series, and finished in 1490; and, though devoid of the highest artistic qualities, are eminently characteristic of their epoch. Though representing scenes from the life of the Madonna and the Baptist, this is entirely subordinated to the portrait groups of noble Florentines and their ladies, introduced as usually utterly uninterested spectators of the sacred events. As religious pictures they are naught; but as representations of contemporary Florentine life, most valuable. Hardly elsewhere shall you see so fine a series of portraits of the men and women of the early Renaissance; but they have other things to think of than the Gospel history. Look at the scene of the Angel appearing to Zacharias. The actual event is hardly noticed; hidden in the throng of citizens, too busily living the life of the Renaissance to attend to such trifles; besides, it would not improve their style to read St. Luke. In the Visitation, the Nativity of the Baptist, the Nativity of the Blessed Virgin, a fashionable beauty of the period sweeps in with her attendants--and it is hardly uncharitable to suppose that, if not herself, at least her painter thought more of her fine clothes than of her devotional aspect. The portraits of the donors, Giovanni Tornabuoni and his wife, are on the window wall. In the scene of the expulsion of Joachim from the Temple, a group of painters stands together (towards the window); the old cleanly-shaven man in a red hat is Alessio Baldovinetti, Ghirlandaio's master; next to him, with a lot of dark hair, dressed in a red mantle and blue vest, is Domenico Ghirlandaio himself; his pupil and brother-in-law, Sebastiano Mainardi, and his brother, David Ghirlandaio, are with him--the latter being the figure with shoulder turned and hat on head. In the apparition to Zacharias, among the numerous portraits, a group of four half figures discussing at the foot of the history is of special interest; three of them are said to represent Marsilio Ficino, Cristoforo Landini, and Angelo Poliziano (in the middle, slightly raising his hand); the fourth, turned to speak to Landini, is said by Vasari to be a famous teacher of Greek, Demetrius, but now supposed to be Gentile Becchi, a learned bishop of Arezzo. The stained glass was designed by Filippino Lippi. Under the high altar rests the body of the Blessed John of Salerno, the "Apostle of Florence," who brought