The stained glass window over the entrance was designed by Perugino. In the right transept is an excellent picture by Filippino Lippi; Madonna and Child with the little St. John, St. Catherine and St. Nicholas, with the donor, Tanai de' Nerli, and his wife. Also in the right transept is the tomb of the Capponi; Gino, the conqueror of Pisa and historian of the Ciompi; Neri, the conqueror of the Casentino; and that great republican soldier and hero, Piero Capponi, who had saved Florence from Charles of France and fell in the Pisan war. The vision of St. Bernard is an old copy from Perugino. None of the other pictures in the church are more than school pieces; there are two in the left transept ascribed to Filippino's disappointing pupil, Raffaellino del Garbo--the Trinità with St. Mary of Egypt and St. Catherine, and the Madonna with Sts. Lawrence, Stephen, John and Bernard. The latter picture is by Raffaellino di Carlo. During the last quarter of the fourteenth century the convent of Santo Spirito--which is an Augustinian house--was the centre of a circle of scholars, who represent an epoch intermediate between the great writers of the Trecento and the humanists of the early Quattrocento. Prominent among them was Coluccio Salutati, who for many years served the Republic as Chancellor and died in 1406. He was influential in founding the first chair of Greek, and his letters on behalf of Florence were so eloquent and powerful that the "great viper," Giovanni Galeazzo Visconti, declared that he dreaded one of them more than many swords. Also Filippo Villani, the nephew of the great chroniclers, Giovanni and Matteo, who had succeeded Boccaccio as lecturer on Dante. They met here with other kindred spirits in the cell of Fra Luigi Marsili, a learned monk and impassioned worshipper of Petrarch, upon whose great crusading canzone--_O aspettata in ciel, beata e bella_--he wrote a commentary which is still extant. Fra Luigi died in 1394. A century later, the monks of this convent took a violent part in opposition to Savonarola; and it was here, in the pulpit of the choir of the church, that Landucci tells us that he heard the bull of excommunication read "by a Fra Leonardo, their preacher, and an adversary of the said Fra Girolamo,"--"between two lighted torches and many friars," as he rather quaintly puts it. "The Carmine's my cloister: hunt it up," says Browning's Lippo Lippi to his captors; and the Via Mazzetta and the Via Santa Monaca will take us to it. This church of the Carmelites, Santa Maria del Carmine, was consecrated in 1422; and, almost immediately after, the mighty series of frescoes was begun in the Brancacci Chapel at the end of the right transept--frescoes which were to become the school for all future painting. In the eighteenth century the greater part of the church was destroyed by fire, but this chapel was spared by the flames, and the frescoes, though terribly damaged and grievously restored, still remain on its walls.