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The /cortege/ was formed in the wings, that is in the Cappella della Pieta, the first chapel of the right aisle, and in order to reach it, the Holy Father, coming from his apartments by the way of the Chapel of the Blessed Sacrament, had been stealthily carried behind the hangings of the aisle which served the purpose of a drop-scene.
All these frescoes in the Bardi Chapel are much more damaged by restoration than those in Cappella Peruzzi. In the choir, behind the high altar, Agnolo Gaddi, one of the two sons of Taddeo, has painted, with a charm and brightness of colour that hide the poor design, the story of the Holy Cross.
Awaiting him in all readiness in the Cappella della Pieta were the cardinals, archbishops, and bishops, the whole pontifical prelacy, hierarchically classified and grouped. And then, as at a signal from a ballet master, the cortege made its entry, reaching the nave and ascending it in triumph from the closed Porta Santa to the altar of the Confession.
The first three chapels have little interest, but the two nearest the choir, Cappella Peruzzi and Cappella Bardi, were both painted in fresco by Giotto, his work there being among the best of his paintings.
Coming out again, you pass along the covered way into the Cappella della Stigmata, built in 1263 by the Conte Simone da Battifolle, where behind the high altar is the great Crucifixion by one of the della Robbia. Next to this chapel is the Cappella della Croce, where of old the cell stood in which St. Francis kept the Lent of St. Michael.
Passing up the north aisle, we enter at last the Cappella del Sacramento, under whose altar St. Felix, the Pistojese, sleeps, while on the south wall hangs one of the best works of Lorenzo di Credi, Madonna with Jesus in her arms, and St. John Baptist and S. Zenone on either side. Opposite is the bust of Bishop Donato de' Medici, by Antonio Rossellino. The little crypt under the high altar is scarcely worth a visit, but the great treasure of the church, the silver frontal of the high altar, is now to be found in the Cappella della Citt
In the south transept he has carved the monument to Pietro da Noceto, the pupil of Pope Nicholas V, and close by, the tomb of Domenico Bertini, his patron, while in the Cappella del Sacramento are two angels from his hands, kneeling on either side the tabernacle.
Finally let me mention the bronze reliefs of the life of S. Dominic in the Cappella of that saint in the right aisle. The one representing his death, though perhaps a little on the florid side, has some pretty and distinguished touches.
There are several of these drawings in existence in good condition, with no marks of the thumbs of workmen about them. From the letters referring to the last contract about the Tomb of Julius, we learn that the frescoes in the Cappella Paolina were not begun in October 1542.
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