two from that of Our Lady,[1] which were all much extolled at the time. Francesco was so entirely satisfied with all that Domenico had done, that when the master returned to Florence, with great honour and large gains, Tornabuoni recommended him bv letters to his relation Giovanni, informing the latter how well he had been served by Domenico in the matter of the tomb, and declaring that the Pope also was highly pleased with his pictures. When Giovanni Tornabuoni heard these things, he began to consider how he might best employ the ability of the painter in some magnificent work, which should serve as a perpetual memorial of himself, and at the same time bring renown and advantage to Domenico.
Now it chanced that at this time the principal chapel of Santa Maria Novella, a monastery of the Preaching Friars, which had formerly been painted by Andrea Orgagna, was in many parts injured by the rains which had penetrated to the work, by reason of the roof being imperfectly covered. IVIany citizens had offered to restore the chapel or to paint it anew, but the owners, who were then of the Ricci family, would never agree to its being done, they not having means to supply the expense themselves, nor could they resolve on yielding the chapel to others who would do it, lest they should lose their right in it, and should see their arms, which had descended to them from their ancestors, removed from the place. But Giovanni Tornabuoni, wishing much that Domenico should raise him this memorial, set to work in the matter, and sought by various devices to effect his purpose. At length he promised the Ricci, not only to take the whole expense on himself, and to make them a recompense in some other matter, but also assured them that he would have their arms emblazoned on the most conspicuous and most honourable place to be found in the chapel. On this condition they agreed, and a solemn contract was made, by means of an instrument carefully drawn up according to the tenor above described. Giovanni then commissioned Domenico to execute the work, the same subjects being retained, as they had been originally painted by Orgagna, and the price agreed on was 1200 gold ducats; but, in the event of the paintings pleasing
- ↑ The works executed in the church of Minerva are no longer to be seen.
