The beautiful circular relief of the Virgin and Child, with a border of roses and flying worshipping angels all about it, behind the altar, is Benedetto's too, and very lovely and human are both Mother and Child.
The frescoes in this chapel, by Filippino Lippi, are interesting, particularly that one on the left, depicting the Resuscitation of Drusiana by S.John the Evangelist, at Rome, in which the group of women and children on the right, with the little dog, is full of life and most naturally done.

Above (but almost impossible to see) is S.John in his cauldron of boiling oil between Roman soldiers and the denouncing Emperor, under the banner S.P.Q.R .-- a work in which Roman local colour completely excludes religious feeling.

Opposite, below, we see S.Philip exorcising a dragon, a very florid scene, and, above, a painfully spirited and realistic representation of the Crucifixion.

The sweetness of the figures of Charity and Faith in monochrome and gold helps, with Benedetto's tondo, to engentle the air.
We then come again to the Choir, with Ghirlandaio's urbane Florentine pageant in the guise of sacred history, and pass on to the next chapel, the Cappella Gondi, where that crucifix in wood is to be seen which Brunelleschi carved as a lesson to Donatello, who received it like the gentleman he was.

I have told the story in Chapter XV.
The left transept ends in the chapel of the Strozzi family, of which Filippo was the head in his day, and here we find Andrea Orcagna and his brother's fresco of Heaven, the Last Judgment and Hell.