SANTA MARIA NOVELLA. 
459 
bishop reclines on a sarcophagus, which rests on three crouch¬ 
ing lions, and has a relief of our Saviour rising from the tomb, 
with the Virgin and St. John on either side ; a canopy above 
is supported on twisted columns and pilasters ; above all are 
the arms of the deceased, a lion rampant. 
A large fresco much damaged, beyond the monument, and 
lower down, was painted in memory of Joseph, the Patriarch 
of Constantinople, who died in Florence in 1440, during the 
Œcumenical Council which was summoned by Pope Eugenius 
IV. in the hope of reconciling the Latin and Greek Churches. 
The patriarch is represented in his robes, with an image in his 
hand. Over this fresco is a monument to Fra Aldobrandini 
Cavalcanti of Florence, who died in 1229, and contributed 
largely to the restoration of the church : the friar, clothed in a 
bishop’s robes, is represented in high relief. The statuette of 
the Virgin and Child above, beneath an arch of black and 
white marble, is of the school of Nicolò Pisano. 
A flight of stone steps leads to the chapel belonging to the 
Rucellai family, and at the head of the steps is a marble sarco¬ 
phagus, containing the bones of Paolo Rucellai, the father of 
Giovanni Rucellai, at whose expense the facciata of Santa 
Maria Novella was constructed. 
In this chapel is the celebrated Madonna of Cimabue 
(1240-c. 1302) which was borne hither from his workshop in 
the Borgo Allegri in a festive procession. The Virgin, above 
life-size, is seated ; she is clothed in a red tunic and blue 
mantle, which is drawn over her head as a hood ; her feet rest 
on the step of the throne, which is carved in a rich pattern and 
gilt ; over the back of the chair is a drapery equally rich in 
gold and embroidery ; the throne itself is supported by six angels 
kneeling, three above each other, on either side. The Infant 
Saviour is clothed in red and white, with a gold mantle over 
his knees.1 It is from this picture we may date the impulse 
given to art, which developed the Florentine school of painting 
See Crowe and Cavalcaselle, vol. i. p. 204.