esco by the same
hand at S. Maria Novella in which S. John resuscitates Drusiana. In
this Carmine fresco are many portraits of Filippino's contemporaries,
including Botticelli, just as in the scene of the consecration of
the Carmine which Masaccio painted in the cloisters, but which has
almost perished, he introduced Brancacci, his employer, Brunelleschi,
Donatello, some of whose innovating work in stone he was doing in
paint, Giovanni de' Medici and Masolino. The scanty remains of this
fresco tell us that it must have been fine indeed.

Masaccio died at the early age of twenty-six, having suddenly
disappeared from Florence, leaving certain work unfinished. A strange
portentous meteor in art.

The Pitti side of the river is less interesting than the other,
but it has some very fascinating old and narrow streets, although
they are less comfortable for foreigners to wander in than those,
for example, about the Borgo SS. Apostoli. They are far dirtier.

From the Pitti end of the Ponte Vecchio one can obtain a most charming
walk. Turn to the left as you leave the bridge, under the arch made by
Cosimo's passage, and you are in the Via de' Bardi, the backs of whose
houses on the river-side are so beautiful from the Uffizi's central
arches, as Mr. Morley's picture shows. At the end of the street is
an archway under a large house. Go through this, and you are at the
foot of a steep, stone hill. It is really steep, but never mind. Take
it easily, and rest half-way where the houses on the left break and
give a wonderful view of the city. Still climbing, you come to the
best gate of all that is left--a true gate in being an inlet into a
fortified city--that of S. Giorgio, high on the Boboli hill by the
fort. The S. Giorgio gate has a S. George killing a dragon, in stone,
on its outside, and the saint painted within, Donatello's conception
of him being followed by the artist. Parsing through, you are in the
country. The fort and gardens are on one side and villas on the other;
and a great hill-side is in front, covered with crops. Do not go on,
but turn sharp to the left and follow the splendid city wall, behind
which for a long way is the garden of the Villa Karolath, one of the
choicest spots in Florence, occasionally tossing its branches over the
top. This wall is immense all the way down to the Porta S. Miniato,
and two of the old towers are still standing in their places upon
it. Botticini's National Gallery picture tells e