ITALIAN GARDENS OF THE RENAISSANCE 
Giuliano’s son. It is that of Leonardo Buonafede, 
a name which frequently occurs in old Florentine 
records, and is worthy of all remembrance. Origin¬ 
ally a monk of the Certosa, this excellent man was, 
during twenty-seven years, Spedalingo of the great 
Florentine hospital, S. Maria Nuova, and made him¬ 
self beloved by his good works and the many charit¬ 
able institutions which he founded. At the end of 
that time he became Bishop of Cortona, and when, in 
1545, he died at a great age, wished to be buried in 
his old convent. His portrait, with a view of the 
Certosa in the background, is introduced in an altar- 
piece by Ridolfo Ghirlandajo, now in the Academy. 
It is curious to find that this saintly prelate, while 
Spedalingo of S. Maria Nuova, was called upon to 
baptize the infant daughter of Lorenzo di Piero de’ 
Medici, the famous Catherine, afterwards Queen of 
France. 
Francesco di San Gallo was an inferior artist to 
his father, and has left little work of importance 
behind him ; but in the good Bishop’s tomb, it must 
be owned, he has succeeded in producing a master¬ 
piece. There is no aiming at effect, no especial rich¬ 
ness of decoration, or beauty of workmanship ; but 
the sculptor has caught the expression which lingers 
on the faces of the dead, and rendered it with touch¬ 
ing simplicity. The old man lies on his death-bed : 
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