And here let me advise another companion for this church: a little dark enthusiast, in a black skull cap, named Alfred Branconi, who is usually to be found just inside the doors, but may be secured as a guide by a postcard to the church.

Signor Branconi knows S.Croce and he loves it, and he has the further qualifications of knowing all Florence too and speaking excellent English, which he taught himself.
The S.Croce pulpit, which is by Benedetto da Maiano, is a satisfying thing, accomplished both in proportions and workmanship, with panels illustrating scenes in the life of S.Francis.These are all most gently and persuasively done, influenced, of course, by the Baptistery doors, but individual too, and full of a kindred sweetness and liveliness.

The scenes are the "Confirmation of the Franciscan Order" (the best, I think); the "Burning of the Books"; the "Stigmata," which we shall see again in the church, in fresco, for here we are all dedicated to the saint of Assisi, not yet having come upon the stern S.Dominic, the ruler at S.Marco and S.Maria Novella; the "Death of S.Francis," very real and touching, which we shall also see again; and the execution of certain Franciscans.

Benedetto, who was also an architect and made the plan of the Strozzi palace, was so unwilling that anything should mar the scheme of his pulpit, that after strengthening this pillar with the greatest care and thoroughness, he hollowed it and placed the stairs inside.
The first tomb on the right, close to this pulpit, is Michelangelo's, a mass of allegory, designed by his friend Vasari, the author of the "Lives of the Artists," the reading of which is perhaps the best preparation for the understanding of Florence.

"If life pleases us," Michelangelo once said, "we ought not to be grieved by death, which comes from the same Giver." Michelangelo had intended the Pieta, now in the Duomo, to stand above his grave; but Vasari, who had a little of the Pepys in his nature, thought to do him greater honour by this ornateness.