. Italian wall decorations of the 15th and 16th centuries : A handbook to the models, illustrating interiors of Italian buildings, in the Victoria and Albert museum, South Kensington. n of Michelozzo, thatsumptuous, yet simple and elegant Chapel upon the model ofthe one made in Florence by Brunellesco, in the cloister ofSta. Croce, for the Pazzi family. Successive annotators ofVasari have repeated this assertion, whilst in the long andminute description of the bank written by Filarete, inBook XXV. of his Treatise on Architecture, accom-panied by a drawing in the Magliabecchi MS., the authordoe
. Italian wall decorations of the 15th and 16th centuries : A handbook to the models, illustrating interiors of Italian buildings, in the Victoria and Albert museum, South Kensington. n of Michelozzo, thatsumptuous, yet simple and elegant Chapel upon the model ofthe one made in Florence by Brunellesco, in the cloister ofSta. Croce, for the Pazzi family. Successive annotators ofVasari have repeated this assertion, whilst in the long andminute description of the bank written by Filarete, inBook XXV. of his Treatise on Architecture, accom-panied by a drawing in the Magliabecchi MS., the authordoes not speak of Michelozzo at all, but mentions him 24 THE CHAPEL OF ST. PETER MARTYR IN incidentally in regard to military architecture in Book VI. Itmight be urged that this silence was caused by professionalrivalry between Filarete and Michelozzo, both Florentinesworking in Milan under the reign of Francesco Sforza, butthe minute description of the Medicean bank given byFilarete excludes this supposition. By referring to the oldestwriting in which the Chapel of St. Peter Martyr is the chronicle of the Dominican, Gaspare Bugati (1524-1588), The Saint. The Miracle of the Host. THE CHURCH OF ST. EUST0RG10, MILAN. 25 we find that about the middle of the sixteenth century thetradition of Michelozzos connection with the chapel did notexist, for the chronicle in reference to it makes this mentiononly:— 1462. At this time Pigello Portinari, a Florentinenobleman, much in favour with the Prince Sforza, caused thechapel of the head of St. Peter Martyr to be built with excel-lent architecture and painting. The painter was VincenzoVecchio, at this time famous. All was finished in the year 68. So far, then, as historic truth goes, we may recognizePortinaris chapel as a monument distinguished by severalarchitectural features of the Tuscan Renaissance, withoutpositively asserting it to be the work of Michelozzo. Thus,seeing in the midst of purely Tuscan Renaissanc
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