the other is the scene of the same S. Zanobi being carried dead by
six Bishops from S. Lorenzo, where he was first buried, to S. Maria del
Fiore, when, passing through the Piazza di S. Giovanni, an elm that was
there, all withered, on the spot where there is now a column of marble,
with a cross upon it in memory of the miracle, was no sooner touched
(through the will of God) by the coffin wherein was the holy corpse,
than it put forth leaves again and burst into bloom; which picture was
no less beautiful than the others by Ridolfo mentioned above.

[Illustration: THE MIRACLE OF S. ZANOBI

(_After the painting by =Ridolfo Ghirlandajo=. Florence: Uffizi, 1275_)

_Anderson_]

Now those works were executed by that painter while his uncle David was
still alive, and that good old man took the greatest pleasure in them,
thanking God that he had lived so long as to see the art of Domenico
come to life again, as it were, in Ridolfo. But finally, being
seventy-four years of age, while he was preparing, old as he was, to go
to Rome to take part in the holy Jubilee, he fell ill and died in the
year 1525, and received burial from Ridolfo in S. Maria Novella, where
the others of the Ghirlandajo family lie.

Ridolfo had a brother called Don Bartolommeo in the Angeli, a seat of
the Monks of Camaldoli in Florence, who was a truly religious, upright,
and worthy man; and Ridolfo, who loved him much, painted for him in the
cloister that opens into the garden--that is, in the loggia where there
are the stories of S. Benedict painted in verdaccio by the hand of Paolo
Uccello, on the right hand as one enters by the door of the garden--a
scene in which that same Saint, seated at table with two Angels beside
him, is waiting for bread to be sent for him into the grotto by Romanus,
but the Devil has cut the cord with stones; and the same Saint investing
a young man with the habit. But the best figure of all those that are on
that little arch, is the portrait of a dwarf who stood at the door of
the monastery at that time. In the same place, over the holy-water font
at the entrance into the church, he painted in fresco-colours a Madonna
with the Child in her arms, and some Angels about her, all very
beautiful. And in the cloister that is in front of the chapter-house, in
a lunette over the door of a little chapel, he painted in fresco S.
Romualdo with the Church of the Hermitage of Camaldoli in his hand: and
not long afterwards a very beautifu