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Updated: June 18, 2025
At the end of the passage in which the sacristy is situated is the exquisite little Cappella Medici, which Michelozzo, the architect of S. Marco and the Palazzo Medici, and for a while Donatello's partner, built for his friend Cosimo de' Medici, who though a Dominican in his cell at S. Marco was a Franciscan here, but by being equally a patron dissociated himself from partisanship.
It is my present business to establish the phases through which my master's sense of form passed from its cradle to its grave. In the frescoes of the Cappella Paolina, so ruined at this day that we can hardly value them, the mechanic manner of the fourth stage seems to reach its climax.
Here, in the Cappella Sassetti, Domenico Ghirlandajo has painted the Life of S. Francis; but it is not with his commonplace treatment, often irrelevant enough, of a subject which Giotto had already used with genius, that we are concerned, but perhaps with the fresco above the altar, and certainly with the marvellous portraits of Sassetti and Nera Cosi his wife, on either side.
It begins by referring to the contract of April 18, 1532, and proceeds to state that the Pope's new commission for the Cappella Paolina has interfered once more with the fulfilment of the sculptor's engagements.
Marthene T. 3, p. 132, Benedict Canon of S. Peter's in his Ordo Romanus, Marangoni, Istoria dell antichissimo Oratorio o Cappella di S. Lorenzo nel Patriarchio Lateranense. Roma 1747. S. Louis of France used to walk barefooted on this day to the churches, praying and giving abundant alms, as did also William, king of the Romans. If she teaches exclusive salvation.
Certain it is that Angelico was staying in Rome in the first half of 1447; and he painted in the Vatican the Cappella del Sacramento, which was afterwards demolished by Paul III. In June 1447 he proceeded to Orvieto, to paint in the Cappella Nuova of the cathedral, with the co-operation of his pupil Benozzo Gozzoli.
Peter Martyr was burnt in the Cappella del Rosario of SS. Giovanni e Paolo, together with one of Giovanni Bellini's finest altar-pieces, the Virgin and Child with Saints and Angels, painted in 1472. Some malign influence had caused the temporary removal to the chapel of these two priceless works during the repair of the first and second altars to the right of the nave.
Every part of it is worthy of the strictest and most eager attention, from the ambulatory, which was covered in 1902 with old marble slabs and where there are two early Christian sarcophagi, to the restored Cappella Sancta Sanctorum with its fifth-century sarcophagus, the tomb of the exarch Isaac, and the lofty Matronaeum, the women's gallery, from which the best view of the mosaics and the marvellously carved Byzantine capitals may be had.
Distribution of Artistic Gifts in Italy Florence and Venice Classification by Schools Stages in the Evolution of Painting Cimabue The Rucellai Madonna Giotto His widespread Activity The Scope of his Art Vitality Composition Colour Naturalism Healthiness Frescoes at Assisi and Padua Legend of S. Francis The Giotteschi Pictures of the Last Judgment Orcagna in the Strozzi Chapel Ambrogio Lorenzetti at Pisa Dogmatic Theology Cappella degli Spagnuoli Traini's "Triumph, of S. Thomas Aquinas" Political Doctrine expressed in Fresco Sala della Pace at Siena Religious Art in Siena and Perugia The Relation of the Giottesque Painters to the Renaissance.
Furthermore, in the little Cappella Santa is a rich and lovely Giovanni Bellini, with sacred relics in jars above and below it, and outside is the gay little cloistered garden of the still existing monastery, with a figure of S. Francis in the midst of its greenery.
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