The Dominican church of Santa Maria Novella in Florence was commenced in 1246, and being a combination of north and south Cistercian traditions represents a uniquely Italian mendicant style. The plan is bascilican with a vaulted roof of square or near square bays in the nave and rectangular bays in the aisles supported on slender composite pillars with Corinthian capitals. The Rucellai family commissioned Leone Battista Alberti to complete the façade from 1456-70, the lower part being a typical example of Tuscan Romanesque architecture. Alberti's façade remains in harmony with this and uses strict mathematical proportions based on a two to one ratio throughout except at the entry which introduces a ratio of three to two. Alberti's influences include Vitruvius, Brunelleschi and the Romanesque church of San Miniato al Monte in Florence. His use of scrolls to connect the pedimental façade of the nave with the aisles was to become influential and is found in the late Renaissance church of the Gesu and the Baroque Santa Susanna, both in Rome. To the façade's right lies a long line of arcaded Gothic recesses, housing the vaults of noble Florentine families. The interior includes a mural of the Trinity by Masaccio of about 1425 which shows the perspective and geometric proportions which were proposed in the works of writings of Brunelleschi and Alberti. It survived alterations to the interior by Vasari from 1565. Ruskin was absorbed with what he found in the church in 1845: works by Cimabue, Orcagna, Ghirlandaio, Giotto, Fra Angelico, and the tomb of Filippo Strozzi ( Works, 4.xxxii; 35.359-60). In 1874 he studied in detail the so called Spanish Chapel, this work forming the basis of a chapter in Mornings in Florence (1875-77) ( Works, 23.365-408).