Among the less illustrious persons whose tombs are to be seen in Santa Croce may be mentioned the Countess of Albany, whose monument is by Luigi Giovaimozzi and Emilio Santarelli, Raddi the botanist, John Catriek, Princess Charlotte Bonaparte, Joseph Salvetti, Raphael Morghen, Bettino Ricasoli, the architect Alexander Galilei, the Countess Zamoiska, the Castellani.

It would be superfluous to describe all the parts of this vast monument, which, interesting in itself, contains numerous works of art in the way of pictures, bas-reliefs, and frescoes, by Taddeo Gaddi, Stamina, Mainardi, and even Giotto.

The convent annexed to Santa Croce was also built by Arnolfo. It was originally occupied by the Franciscan monks, and it was here that, from 1284 to 1782, the Inquisition held its sittings. The notorious Frenchman, Gaulthier de Brienne, Duke of Athens, who for a brief period ruled Florence as Captain of the People, selected this monastery as his residente in June, 1342, but having in September of the same year succeeded in getting himself elected ruler of Florence for life, he removed to the Palazzo Vecchio. His reign, however, was of only brief duration, for the year following he was expelled by the people.

St. Bernard of Siena; the celebrated Felix Peretti, the monk who cast away his crutches, exclaiming, "Ego sum Papa;" the mighty Sixtus Quintus; and Pope Clement XIV. were all monks of Santa Croce.

The cloister is also very interesting, for although the form of decoration has been altered by successive generations, the primitive design has been preserved. Among the dead buried in it are the Alamanni, Francesco Pazzi, and Gastone della Torre Patriarch of Aquileia and Bishop of Milan, who died at Florence on the 8th of April, 1317, from the effects of a fall from his horse.

THE CHAPEL OF THE PAZZI

At the end of the cloister of Santa Croce is the Chapel of the Pazzi, built in 1410 by the powerful family of that name, who intrusted the work to Filippo Brunelleschi. By permission of the family, this chapel was used as a chapter-house for the monks of Santa Croce, and in 1566 four thousand of them assembled there to hear the regulations for the establishment of the Inquisition. The chapel of the Pazzi is one of the sanctuaries of Italian art, having a purity of taste peculiar to Florence, and is as perfect a specimen as could be desired of the new architecture which Brunelleschi introduced at the dawn of the Renaissance.

When an architect of authority and genius can enforce strict discipline on his fellow-workers he obtains complete harmony both in general effect and in detail. This was the case with Brunelleschi's work, and Luca della Robbia, who was one of his assistants, not only brought into play his abilities as a sculptor, but improved the general effect by the rich friezes with which he ornamented the interior. There are such a vast number of works by his brothers and the artists of his school that his own achievements are apt to be overlooked, but the chapel of the Pazzi contains specimens of his art of which he might well be proud. The Four Evangelists life-size in glazed terra-cotta, the heads of the Twelve Apostles on the upper part of the walls, and a frieze composed of a host of angels' heads and scutcheons, form a charming whole, perfect in form, rich in appearance, and of a coloring both enduring and brilliant. Another interesting feature, from an architectural point of view, is the use of terra-cotta in the decoration of the ceiling, and of the cupola in the portico of the chapel.

The building was commenced by Andrea Pazzi, and at his death the work was carried on by his son Francesco, who is buried in the convent. Apart from the architectural work, the Pazzi employed the most famous artists of the day for the decoration of the altars. Many of the heads and figures of the angels are by Donatello.

In the work of Francesco Bocchi, revised by Cinelli, and published in the seventeenth century under the title of " Le Bellezze della Citta di Firenze," it is stated that Galileo is buried at the foot of an altar in the Medici chapel; and as the author says that, at the time of his writing, the tomb was still in the same place, it must be assumed either that the monument in Santa Croce is only commemorative, or that his remains have been removed there since.

THE BARGELLO

Formerly known as the Palazzo del Podesta, this palace, now transformed into a National Museum, was also erected by Arnolfo, and is a very fine specimen of thirteenth-century architecture.

In September, 1250, there was a popular rising against the Ghibellines. As a matter of course, there was a complete change of government, the first "Captain of the People " was appointed, and the office conferred upon Hubert of Lucca, who had under him twelve elders (Anziani). Arnolfo di Cambio was requested to build a palace for their accommodation, and the site selected was that of a church attached to the neighboring monastery of the Badia, now so celebrated for its venerable appearance, and for the beautiful works by Mino da Fiesole which it contains. It would be difficult to describe what the Bargello was like in the thirteenth century, for its form was changed in 1345 by Agnolo Gaddi. It was first called the Palazzo del Commune, and afterwards the Palace of the Podesta, being styled the Bargello when it was used as a residence for the Chief of Police, who bore that title.

Now a National Museum, and restored with a careful regard to its original aspect, it presents a very imposing appearance, and is, without exception, the best preserved of all ancient monuments in Florence. The scutcheons of the various Podesta's and of the ordinary members of council, let into the walls give a very characteristic appearance to the ornamentation. This was a general usage at the time, and many interesting specimens of this description of decoration, now fallen into disuse, are to be seen at the Town Hall of Fiesole and in the little village at which so many travellers halt to visit the famous Certosa," beyond the gates of Florence.

Another singular usage though it was dictated by a sentiment of quite an opposite kind was that of representing, on the walls of the Bargello, frescoes of traitors and rebels, and in 1345 Giottino was employed to paint the features of the Duke of Athens after his downfall, though, unfortunately for us, this fresco is now almost entirely obliterated.

The walls of the Bargello chapel were well known to be covered with paintings by Giotto, which, when the building was converted into a prison, were concealed beneath a coat of whitewash, and only brought to light again in 1840, portraits of Dante, Brunetto, and Charles of Valois being discovered among them. During the fourteenth century the prisoners condemned to death were executed in the court-yard of the Bargello, and this contributed to give the place a sinister name. But art now reigns supreme within its walls, and the great names of Donatello, Verrocchio, Michael Angelo, Maiano, Desiderio, Brunelleschi, Ghiberti, and the brothers Della Robbia, have obliterated the recollection of the gloom in which the palace was once involved.