The fresco of the Raising up of the dead Youth, left unfinished by Masaccio when he left Florence for Rome, was completed by Filippino Lippi (the son of that run-a-way Carmelite in whom the spirit of Masaccio was said to have lived again), in 1484. The five figures on the left appear to be from Filippino's hand (the second from the end is said to be Luigi Pulci, the poet), as also the resuscitated boy (said to be Francesco Granacci the painter, who was then about fifteen years old) and the group of eight on the right. Under Masaccio's Adam and Eve, he painted St. Paul visiting St. Peter in prison; under Masolino's Fall, the Liberation of Peter by the Angel, two exceedingly beautiful and simple compositions. And, on the right wall of the chapel, St. Peter and St. Paul before the Proconsul and the Crucifixion of St. Peter are also by Filippino. In the Crucifixion scene, which is inferior to the rest, the last of the three spectators on our right, wearing a black cap, is Filippino's master, Sandro Botticelli. In the presence of the Proconsul, the elderly man with a keen face, in a red cap to the right of the judge, is Antonio Pollaiuolo; and, on our right, the youth whose head appears in the corner is certainly Filippino himself--a kind of signature to the whole. Apart from the Brancacci chapel, the interest of the Carmine is mainly confined to the tomb of the noble and simple-hearted ex-Gonfaloniere, Piero Soderini (who died in 1513), in the choir; it was originally by Benedetto da Rovezzano, but has been restored. There are frescoes in the sacristy, representing the life of St. Cecilia, by one of Giotto's later followers, possibly Spinello Aretino, and, in the cloisters, a noteworthy Madonna of the same school, ascribed to Giovanni da Milano. Beyond the Carmine, westwards, is the Borgo San Frediano, now, as in olden time, the poorest part of Florence. It was the ringing of the bell of the Carmine that gave the signal for the rising of the Ciompi in 1378. Unlike their neighbours, the Augustinians of Santo Spirito, the good fathers of Our Lady of Mount Carmel were for the most part ardent followers of Savonarola, and, on the first of October 1497, one of them preached an open-air sermon near the Porta San Frediano, in which he declared that he himself had had a special revelation from God on the subject of Fra Girolamo's sanctity, and that all who resisted the Friar would be horribly punished; even Landucci admits that he talked arrant nonsense, _pazzie_. The parish church of this district, San Frediano in Cestello, is quite uninteresting. At the end of the Via San Frediano is the great Porta San Frediano, of which more presently.