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neath. He instantly ceased the operation; and having
informed the Monks of his discovery, it was decided
that the paintings should be restored and cleaned,
which they are now in progress of undergoing.
The oil painting to the left in the second chapel re¬
presenting a miracle performed by St. Anthony, is
painted by Luigi Sabatelli, and is a very clever com¬
position, though the painting in parts is too heavy
and black: the pendant is by his brother Francesco,
and the powerful frescoes at the top are by his Fa¬
ther. — Both these artists, who unfortunately died
when quite young, gave indications of no ordinary
talent. Luigi with whom I was personally acquainted
drew and sketched in pen and ink, with all the vi¬
gour and anatomical knowledge of the cinquecen¬
tisti: his monument is in the cloisters, and though
clever as a work of art, I cannot much admire the
feeling in which it is conceived. In these same cloi¬
sters which are to the south of the church, is the fa¬
mous chapel of the Pazzi family, from a design by
Brunellesco, and is considered one of the first attempts
to reintroduce into Italy greek architecture. After
examining the series of chapels cross over to a large
one directly opposite and which contains a chef¬
d’œuvre of art both as to inspiration and, execution,
viz: Bartolini’s monument to Princess Czartoriskwa.
The expression and deathlike repose of the figure are
admirable. Coming out of this chapel, near the high
Altar is a monument by Bartolini to Leon Bati¬