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His wife the ex-Queen, had retired in 1815 to Frankfort and to Brussels, where she was well received by the King, William, and where she stayed till 1823, when she went to Florence, dying there in 1845. Her monument is in the Cappella Riccardi, Santa Croce, Florence.
You pass into the Cappella della Maddalena, where the angel appeared to S. Francesco promising such great things, and it is with a certain confidence you remind yourself, yes, it is true, the Order still lives, here men still speak S. Francesco's name and pray to God. And there, as it is said, Jesus Himself spoke with him, and he wrote the blessing for Frate Leone.
He was lounging among the mountains, sir, basking in the mellow influences of the climate, when he came to UNA PICCOLA CHIESA a little church or perhaps it would be more correct to say UNA PICCOLISSIMA CAPPELLA the smallest chapel you can possibly imagine and walked in.
Luca portrayed in the above-mentioned work himself and many of his friends; Niccolò, Paulo and Vitellozzo Vitelli; Giovan, Paulo and Orazio Baglioni, and others whose names are unknown." Fifty-two years before, in 1447, Fra Angelico had spent three months and a half in this Cathedral of Orvieto, painting the spandrels in the roof of the Cappella Nuova, as it was then called.
The machinery was removed, and the frescoes were uncovered in their incompleteness to the eyes of Rome. Entering the Cappella Sistina, and raising our eyes to sweep the roof, we have above us a long and somewhat narrow oblong space, vaulted with round arches, and covered from end to end, from side to side, with a network of human forms.
I have failed to find any life of any S. Isidoro that relates the story. The little chapel on the left of S. Isidoro's is known as the Cappella dei Mascoli, or males, for hither come the young wives of Venice to pray that they may bring forth little gondoliers. That at any rate is one story; another says that it was the chapel of a confraternity of men to which no woman might belong.
The correspondence which I used in the eleventh chapter, while describing Michelangelo's difficulties regarding the final contract with the Duke of Urbino, proves that he had not begun to paint the frescoes of the Cappella Paolina in October 1542. They were carried on with interruptions during the next seven years.
The façade of the cathedral at Ossero has been ascribed to him, and there is nothing in its design to make his authorship impossible. In the next year he undertook work on the façade of the Cappella Grande of the parish church at Pago.
On the entrance wall of the church is what must once have been a fine Masaccio "The Trinity" but it is in very bad condition; while in the Cappella Rucellai in the right transept is what purports to be a Cimabue, very like the one in the Accademia, but with a rather more matured Child in it.
The font, for instance, with its rude sculptures, that has been forsaken for a later work by Niccolò Civitali, the nephew of Matteo; the Assumption, carved in wood by that master behind the pulpit; the lovely reliefs of Madonna and Child with Saints, by Jacopo della Quercia, in the Cappella del Sacramento; or the great stone which, as it is said, S. Frediano, that Irishman, lifted into a cart.
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