Medici. The following year Lippi moved to Spoleto, with his son Filippino and his apprentice Sandro Botticelli, where he died four years later. In October 1993 the paintings were vandalized with a black pen by Pietro Cannata who had already performed vandalistic acts on other works of art among which the David of Michelangelo in 1991. They were restored starting from 2001, the chapel being reopened to the public in 2007. Description The cycle occupies the two lateral walls and the end wall of the Cappella Maggiore, covering a surface of in total. At the left (looking from the nave towards the high altar) are the Stories of St. Stephen, the titular saint of the church and patron saint of Prato; at the right are the Stories of St. John the Baptist, the protector of nearby Florence. The end wall, at the side of the stained glass window (also designed by Lippi) are two saints in painted niches and, below, bent around the corners, are the martyrdoms of St. Stephen (left) and St. John the Baptist (right). At the top, in the pendentives of the cross-vaults, are the four Evangelists. The two saints' stories are to be read from the top to the bottom, and mirror each other on the opposite walls. The two lunette depict scenes of the birth of the two saints, while in the central scenes is their abandon of the secular life to take the vows; finally, the lower scenes show their martyrdom (central wall) and their death or funeral (side walls). The Stories of St. Stephen include: Kidnapping of Newborn St. Stephen. Set in a house seen through the sectioned front wall, the scene shows a winged demon exchanging the future saint, who had been born into a well-endowed family, with a small devil having the same appearance. At the right is the meeting between the young St. Stephen and Bishop Julian, who, according to the legend, took care of him during his adolescence. St. Stephen Leaving. It shows the saint leaving Julian for his mission in Cilicia. Stoning of St. Stephen (central wall) Funeral of St. Stephen. Set in a Palaeo-Christian basilica, it shows numerous characters taking part in St. Stephen's funeral. They include a portrait of people from Lippi's time, such as a red-dressed Pope Pius II, Carlo di Cosimo de' Medici behind him, and, next to them, the artist's self-portrait. The Stories