This set of three epigraphs and as many pairs of folded-winged eagles with the torsel (symbol of the Art of the Merchants of Calimala) comes from two altars in the Baptistery, erected in the 1830s to a design by Girolamo Ticciati and dismantled around 1912. The first of these altars was dedicated to the Crucifix, and in the niche above it was kept the 14th-century Christ on the Cross attributed to Giovanni di Balduccio, now in the Museum, while on the altar mensa was Girolamo Ticciati's Madonna and Child, now in the Cathedral. The other altar was dedicated to Mary Magdalene, and above it was a depiction of this penitent saint, a masterpiece by Donatello, also preserved in the Museum. Each altar had an epigraph under the mensa, included between the eagles, and another in the tympanum. In the present arrangement, however, the lower epigraph of the Magdalene altar is placed in the Museum's eponymous room. On the tympanum of this altar stood the folder with the inscription “DILEXIT MULTUM”: taken from the Gospel of Luke (7:47) in which Christ says that Magdalene's sins are forgiven “hence, she has shown great love.” A particularly significant concept in the Baptistery, the place where, through the sacrament of Baptism, original sin is washed away. From the tympanum of the altar of the Crucifix, on the other hand, comes the epigraph “IN MORTE IPSIUS BAPTIZATI SUMUS” (Romans 6:3): “Or are you unaware that we who were baptized into Christ Jesus were baptized into his death?”.