the Martelli chapel, where the sympathetic Donatello monument (in the
same medium as his "Annunciation" at S. Croce) is found--on the way to
the Library--is by Lippo Lippi, and is notable for the pretty Virgin
receiving the angel's news. There is nice colour in the predella.

As I have said in the first chapter, we are too prone to ignore the
architect. We look at the jewels and forget the casket. Brunelleschi is
a far greater maker of Florence than either Donatello or Michelangelo;
but one thinks of him rather as an abstraction than a man or forgets
him altogether. Yet the S. Lorenzo sacristy is one of the few perfect
things in the world. What most people, however, remember is its tombs,
its doors, and its reliefs; the proportions escape them. I think its
shallow easy dome beyond description beautiful. Brunelleschi, who had
an investigating genius, himself painted the quaint constellations in
the ceiling over the altar. At the Pazzi chapel we shall find similar
architecture; but there extraneous colour was allowed to come in. Here
such reliefs as were admitted are white too.

The tomb under the great marble and porphyry table in the centre is
that of Giovanni di Bicci, the father, and Piccarda, the mother, of
Cosimo Pater, and is usually attributed to Buggiano, the adopted son
of Brunelleschi, but other authorities give it either to Donatello
alone or to Donatello with Michelozzo: both from the evidence of
the design and because it is unlikely that Cosimo would ask any one
else than one of these two friends of his to carry out a commission
so near his heart. The table is part of the scheme and not a chance
covering. I think the porphyry centre ought to be movable, so that
the beautiful flying figures on the sarcophagus could be seen. But
Donatello's most striking achievement here is the bronze doors, which
are at once so simple and so strong and so surprising by the activity