The upper image shows the Confirmation of the Rule. In 1209 St Francis appeared in Rome before Pope Innocent III, who approved the foundation of the Franciscan order. The background to the fresco is not Rome. It is a remarkable depiction of the Piazza della Signoria in Florence, still recognisable today; see my photograph below.
The four characters on the right have all been identified. In blue is Antonio di Puccio Pucci, Sassetti's brother in law: next to him stands Lorenzo de Medici, and next to him is Francesco Sassetti himself, with his son. Lorenzo is lifting his hand to greet his own children emerging from below, led by their tutor Angelo Poliziano. We have met him before. On the left are three adult sons of Francesco Sassetti. The pope and St Francis are clearly just incidental elements.
The fresco in the most prominent location is this one. It depicts a posthumous legend of Francis. A child has fallen out of a window, and has been killed. Franciscan friars pray to the saint, and the boy is revived.
There are a number of versions of this legend, in different locations. The best known is Rome, while another says Suessa. Vasari tells us that the child was from the Spini family in Florence. The location is the Palazzo Trinita, outside the church, which is on the right. On the left is the Spini palace: in the background we see a figure rushing to save the child. Beyond the palace is the Santa Trinita bridge. The photograph below shows the location today.
So why did Sassetti select this subject for the most important location in the chapel? In 1478 Sassetti's son, Teodoro died. Within a few months, Nera Corsi Sassetti gave birth to a second son, Teodoro II. Almost a miracle, and no doubt intercession was sought from St Francis, patron saint of the family.
As is to be expected, the figures to the left and right are portraits. On the left are what are thought to be the daughters of Sassetti, along with their husbands/fiancees. The figure at the far end of the front row is thought to be Ghirlandio. On the extreme left, not easy to make out, is the face of a Moorish servant.
On the right is a group of important Florentine dignitaries: a number have been (possibly) identified, but I won't list them here. In the back row is another portrait of Poliziano.
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