the church, at
the very time when these Lives are being printed for the second time. He
also painted the arch over the door of S. Maria Ughi, and a little
shrine for the Guild of Linen-Manufacturers, and likewise a very
beautiful S. George, slaying the Dragon, in the same Church of
Ognissanti. And in truth he had a very good knowledge of the method of
painting on walls, which he did with very great facility, although he
was scrupulously careful in the composition of his works.

[Illustration: THE DEATH OF S. FRANCIS

(_After the fresco by =Domenico Ghirlandajo=. Florence: S. Trinita_)

_Alinari_]

Being then summoned to Rome by Pope Sixtus IV to paint his chapel, in
company with other masters, he painted there Christ calling Peter and
Andrew from their nets, and the Resurrection of Jesus Christ, the
greater part of which has since been spoilt in consequence of being over
the door, on which it became necessary to replace an architrave that had
fallen down. There was living in Rome at this same time Francesco
Tornabuoni, a rich and honoured merchant, much the friend of Domenico.
This man, whose wife had died in childbirth, as is told in the Life of
Andrea Verrocchio, desiring to honour her as became their noble station,
had caused a tomb to be made for her in the Minerva; and he also wished
Domenico to paint the whole wall against which this tomb stood, and
likewise to make for it a little panel in distemper. On that wall,
therefore, he painted four stories--two of S. John the Baptist and two
of the Madonna--which brought him truly great praise at that time. And
Francesco took so much pleasure in his dealings with Domenico, that,
when the latter returned to Florence rich in honour and in gains,
Francesco recommended him by letters to his relative Giovanni, telling
him how well the painter had served him in that work, and how well
satisfied the Pope had been with his pictures. Hearing this, Giovanni
began to contemplate employing him on some magnificent work, such as
would honour his own memory and bring fame and profit to Domenico.

Now it chanced that the principal chapel of S. Maria Novella (a convent
of Preaching Friars), formerly painted by Andrea Orcagna, was injured in
many parts by rain in consequence of the roof of the vaulting being
badly covered. For this reason many citizens had wished to restore it,
or rather, to have it painted anew; but the owners, who belonged to the
family of the Ricci, had never con