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VIII. Masaccio, St. Peter distributing alms. IX. Masolino,
St. Peter healing the cripple, and raising Petronilla from
death. X. Lippi, the Crucifixion of St. Peter; St. Paul
before the Proconsul. The first head in the angle to the
right is the portrait of Filippino Lippi. XI. Masolino,
Adam and Eve under the forbidden tree. XII. Lippi, St.
Peter delivered from prison.
On the altar is an ancient painting of the Madonna
del Carmine, in the Greek style, supposed to have been
brought from Greece, in the XIII century. In the choir,
the tomb of the Gonfaloniere Piero Soderini, by Ben. da
Rovezzano, is well worth observation. In the Corsini
chapel (in the left transept), the marble bas-reliefs are
by Foggini, and the frescoes on the ceiling, by Luca
Giordano. In 1858, some good frescoes attributed to the
Spinello Aretino school, were discovered in the sacristy;
they represent stories from the life of St. Cecilia.
S. Croce. (The square bears the same name H. 7.)
This church, which we may rightly call the 1talian Pan-
theon, was designed by that genius who erected a part
of the Cathedral, Arnolfo di Cambio da Colle (1295). It
was restored, and the altars on the side naves were added
by Vasari in the XVI century. The marble façade of
which Pius IX, on the 22.nd of August 1857, laid the
foundation stone, was erected by the Architect Matas.
after a design by Cronaca. The bas-relief over the prin¬
cipal entrance, is of surprising beauty, it represents
the Elevation of the Cross, by Duprè. The Madonna Ad¬
dolorata above is by the same. On the side doors the
Invention of the Cross by Tito Sarrocchi and the Vision
of Constantine by E. Zocchi. The bell-tower was erected
in 1847, by Cav. Baccani. The church, which is in the
form of a latin cross, is in length about 116 metres.
and 39 wide, of a severe style, lighted by very fine co-
lored glass windows; the roof is sustained by octagonal
gothic columns.