ranto, Treves and Parentino, took part, preceded by the
mace-bearers of the Signoria who were sent to give greater
magnificence to the scene. Fra Cipriano, Vicar general of the new
congregation of the "Osservanza," took possession of the convent in
the name of that Order.[38]

"The first part completed," continues the Aretian biographer, "was
that above the old refectory and opposite to the ducal stables, which
had formerly been erected by the Duke Lorenzo de' Medici. In this
place twenty cells were made, the roof was put on, and the various
articles of wood-work brought into the refectory, which was finished
as we see it in our day."[39]

"The library was afterwards erected, it was vaulted above and below,
and had sixty-four bookcases of cypress wood filled with the most
valuable books. The dormitory which was in the form of a square, was
next built, and finally the cloister was completed, with all the other
truly commodious apartments of that convent, which is believed to be
the most perfectly arranged, the most beautiful and most convenient
building of its kind that can be found in Italy, thanks to the skill
and industry of Michelozzo, who gave it up to its occupants entirely
finished in the year 1452.[40] Cosimo de' Medici is said to have
expended 36,000 ducats on this fabric; it is added that while it was
in course of construction, he gave the monks 366 ducats every year
for their support."[41]

In 1439, two years after the building was begun, the principal chapel
was finished, and the work of restoring and embellishing the church
was commenced. This was completed in 1441.

While the architect was engaged in restoring the church of San Marco,
Fra Giovanni was probably commissioned to paint the altar-piece for
the great altar. Vasari writes of it: "But exquisite and admirable
above all is the picture of the High Altar in that church; for besides
that the Madonna in this painting awakens devotional feeling in all
who regard her, by the pure simplicity of her expression; and that the
saints surrounding her have a similar character; the predella, in
which are stories of the martyrdom of St. Cosmo, St. Damian, and
others, is so perfectly finished, that one cannot imagine it possible
for any thing to be executed with greater care, nor can figures more
delicate, or more judiciously arranged, be conceived."[42]
Unfortunately the picture, now in the Academy of the Belle Arti, is in
such bad condition that we are not ab