ment, an early work (1498-99; badly damaged; the adjoining copy in grisaille shows the details). 60. Alesso Baldovinetti, Madonna and saints. Adjoining is the

SALA DI LORENZO MONACO. To the right, 39. Lor. Monaco, Adoration of the Magi; *1544. Bart. Caporali, Madonna with adoring angels; 1309. Lor. Monaco, Coronation of the Virgin (1413); 64. Fra Angelico da Fiesole, Madonna enthroned, with angels (school-piece); *23. Simone Martini and Lippo Memmi, Triptych, Annunciation with SS. Ansanus and Juliana (1333); Fra Angelico, 17. Triptych with a gold ground, Madonna between two saints, surrounded by twelve *Angels with musical instruments, of surpassing charm (1433), *1294. Predella with St. Peter preaching, Adoration of the Magi, and Martyrdom of St. Mark; 1310. Gentile da Fabriano, SS. Mary Magdalen, Nicholas, John, and George (1425). On an easel, *1290. Fra Angelico, Coronation To the left is the

of the Virgin.

SALA DI BOTTICELLI, containing only paintings by Sandro Botticelli: 1299. Strength (from the Mercanzia); 1158, 1156 (farther on), Death of Holofernes; *1182. Calumny, after Lucian's description of a picture by Apelles; 3436. Adoration of the Magi, a late work (executed in grisaille; coloured in the 17th cent.). 1154. Piero, son of Lorenzo de' Medici; 1179. St. Augustine; *39. Birth of Venus. 1289. Madonna and angels; *1286. Adoration of the Magi, with portraits of Cosimo de' Medici, his son Giovanni, and his grandson Giuliano (before 1478); 23. Madonna; *1267 bis. Madonna with angels (the heads of great charm), a round picture, known as "The Magnificat'. 76. Madonna; 1316. Annunciation (school-piece); 1303. Madonna. Straight on is the

SALA DI LEONARDO. Leonardo da Vinci, *1288. Annunciation, an carly work (according to some authorities the work of an unknown pupil of Verrocchio), *1252. Adoration of the Magi, an early work, probably begun in 1481 for the monks of San Donato at Scopeto, but never finished. Also, 52. Paolo Uccello, Cavalry battle (1430; injured); 71, 69, 72. Ant. and Piero Pollaiuolo, Allegories of the Cardinal Virtues, from the Mercanzia (p. 564); 3452. Lorenzo di Credi, Venus; 1305. Dom. Veneziano, Madonna enthroned, with four saints (damaged).

SALA DI MICHELANGELO. To the left, 1547. Luca Signorelli and Pietro Perugino, Crucifixion with SS. Jerome, Francis, John the Baptist, Mary Magdalen, and the Blessed Giovanni Colombini, from the church of the Calza in Florence; 1298. Luca Signorelli, Predella, with the Annunciation, Nativity, and Adoration of the Magi. Signorelli, 1291. Holy Family, a fine example of the "grave, unadorned, and manly style of this painter, showing in the most admirable manner his Leonardo-like mastery of chiaroscuro', *74. Madonna, 3418. Allegory of fertility.

*1139. Michael Angelo, Holy Family, the only easel-work of the master in Italy, painted in tempera about 1503, on the commission of Angelo Doni.

The Madonna, a large-framed woman, kneels on the ground and leans to one side, as she hands the Infant over her shoulder to her husband, who stands behind and finishes off the group. In the hollow way of the middle distance walks the sturdy little John the Baptist, who looks merrily back at the domestic scene. Naked figures, which have no apparent connection with the subject of the picture, enliven the background, in obedience to the custom of the 15th cent., when the artist was expected to show his skill in perspective or his mastery of the nude on every opportunity. Springer.

--

1160. Lor. di Credi, Annunciation; 1297. Dom. Ghirlandaio, Madonna with saints; *1307. Fra Filippo Lippi, Madonna with angels, a late work. - 1295. Dom. Ghirlandaio, Adoration of the Magi (1487).

We return to the corridor and pass through the next door into the two

OLD ROOMS OF THE TUSCAN SCHOOL. ROOм II. To the left, *1265. Fra Bartolomeo, Madonna and St. Anna praying to the Trinity, with the tutelary saints of Florence (this picture, painted for the council-hall of the republic, was unfinished at the artist's death in 1517); *1112. A. del Sarto, Madonna with SS. John and Francis, a masterpiece of soft, smooth treatment (1517; named the Harpy Madonna from the figures on the pedestal); 1271. Ang. Bronzino, Christ in Hades. Above the door, 1273, 1272. Bronzino, Maria de' Medici and Grand-Duke Ferdinand I. as children; Filippino Lippi, 1268. Madonna enthroned with four saints (1485), 1257. Adoration of the Magi, with the portrait of Piero Francesco de' Medici (the astronomer on the left; 1496). 1280bis. Cosimo Rosselli, Madonna with SS. Peter and James; 81. Piero di Cosimo, Immaculate Conception and six saints; *1259. Mariotto Albertinelli, Visitation, with predella: Annunciation, Adoration of the Child, and Presentation in the Temple, the earliest and at the same time the finest work by this artist (1503); adjacent, Ridolfo Ghirlandaio, 1275. St. Zenobius resuscitating a dead child, 1277. Transference of the remains of St. Zenobius to the cathedral; Andrea del Sarto, 93. Christ as a gardener, 1254. St. James and two children in cowls of the brotherhood of St. James (injured). On an easel, *1279. Sodoma, St. Sebastian, on the reverse a Madonna in clouds with SS. Rochus and Sigismund (originally the banner of the brotherhood of St. Sebastian in Siena). - Beyond is the little

SALA DELLE ANTICHE CARTE GEOGRAFICHE DELLA TOSCANA, a model of uniformity in decoration, with a cassetted and painted ceiling and cartographical frescoes of the grand-duchy of Tuscany (ca. 1600). On an easel, *1300. Piero della Francesca, Federigo

da Montefeltro, Duke of Urbino, and his Duchess, Battista Sforza (on the back charming allegorical triumphal processions of the princely pair).

'Neither (of the portraits) are agreeable types, but nothing can exceed the Leonardesque precision of the drawing or the softness and fusion of the impasto.' C. & C.

On easels, 1563, 1564. Melozzo da Forlì (?), Annunciation. Also, 208. Marble group of Bacchus and a satyr (the torso of the god only is antique; restorations perhaps by Benv. Cellini). retrace our steps and turn to the left out of Room II into

- We

ROOM I. Fra Angelico, 1178. Sposalizio, 1184. Death of the Virgin; between these, *1153. Ant. Pollaiuolo, Contests of Hercules with Antæus and the Lernean hydra, with a beautiful landscape; 30. Piero Pollaiuolo, Portrait of Galeazzo Maria Sforza (p. 151; damaged); 34. Lor. di Credi, Portrait. Opposite, 1167. Filippino Lippi, Portrait (fresco); *1217. Pietro Perugino, Portrait; *1162. Fra Angelico, Birth of John the Baptist; 1161. Fra Bartolomeo, Adoration of the Child and Presentation in the Temple, on the reverse the Annunciation in grisaille; 1175. Santi di Tito, Portrait; 1198. Pontormo, Birth of John the Baptist; 1148. Pontormo (?), Leda. 1312. Piero di Cosimo, Perseus delivering Andromeda (showing Leon. da Vinci's and Raphael's influence). We now enter the

TRIBUNA, an octagonal room constructed by Bernardo Buontalenti and decorated by Bernardino Poccetti, which has ever since contained the masterpieces of the collection.

In the centre are placed five celebrated *Antiques: Satyr pressing the scabellum or krupezion with his foot, originally snapping his fingers and forming part of a group ('Invitation to the dance') with a seated nymph (the admirable head and the arms with the cymbals are restored). Group of the Wrestlers; the heads, which resemble those of the Children of Niobe, do not belong to the figures and the greater part of the legs and arms is modern; the right arm of the victor is erroneously restored. Medici Venus, found at Rome in the 16th cent. and brought to Florence in 1680; the affectedly held fingers and the inscription on the base are modern and the head has been retouched. Grinder, a Scythian whetting his knife to flay Marsyas, found at Rome in the 16th cent. (from the same group as the Marsyas, No. 156, mentioned on p. 579). Apollino, or young Apollo (much worked over).

On the wall to the left of the entrance from the corridor: **1129. Raphael, Madonna and Child with the goldfinch ('cardellino'), painted about 1507, pieced together again in 1547 after an injury.

The 'Madonna del Cardellino', the 'Madonna al Verde' at Vienna, and 'La belle Jardinière' in the Louvre form a group nearly allied in point of conception. To the earlier and simpler representations of the

Madonna, in which Mary and her Son alone appear, the child John the Baptist has been added. This not only admits of the delineation of additional features of child-life, but also makes possible the construction of a regularly-arranged group. The two children, standing at the feet of the Madonna, form a broad base for the composition, which tapers upwards easily and naturally to the head of the Virgin. This arrangement first found expression within the realms of sculpture, whence it was eagerly adopted by the Florentine painters. Springer.

1127. Raphael, The young St. John (belonging to the master's Roman period; executed by pupils); 1125. Franciabigio, Madonna del Pozzo, so called from the well; above, Fra Bartolomeo, 1130. Job, 1126. Isaiah; *1123. Sebastiano del Piombo, Portrait, formerly erroneously called the Fornarina (comp. p. 633), dated 1512; *1120. Raphael (?), Portrait, formerly called Maddalena Doni (retouched); 1124. Franc. Francia, Giov. Evangelista Scappi (retouched).

**1131. Raphael, Pope Julius II. (painted about 1512).

"This striking figure, with the arms resting lightly on the chair, the deep-set eyes, the compressed lips, the large nose, and the long white beard descending to the breast, vividly recalls the descriptions of this powerful pope left us by his contemporaries.' Springer.

Above, **1117. Titian, Venus of Urbino (so called; 1538), painted for Guidobaldo della Rovere, Duke of Urbino.

'Not after the model of a Phryne, nor yet with the thought of realizing anything more sublime than woman in her fairest aspect, did Titian conceive this picture. Nature as he presents it here is young and lovely, not transfigured into ineffable noblesse, but conscious and triumphant without loss of modesty.' C. & C.

1122. Pietro Perugino, Madonna, with John the Baptist and St. Sebastian (1493); 1115. Van Dyck, Count John of Montfort; *287. Perugino, Francesco delle Opere, the architect (1494).

*1141. A. Dürer, Adoration of the Magi (1504), one of the first important easel-paintings by this master, carefully and minutely finished, and in good preservation.

Both the aerial and the linear perspective are faulty, but the technical handling is as perfect as in Dürer's latest and finest works. The treatment and the colouring are both in the characteristic style of the northern school of painting. The colours are fluent but sharply defined, laid on at first a tempera and then glazed with oil-pigments. The tone is extraordinarily lively and clear. This gem of German art was formerly in the imperial gallery at Vienna, whence it came to Florence by exchange in the 18th century. Thausing's 'Dürer'.

1104. Ribera, St. Jerome; above, 1108. Titian, Venus and Cupid; *197. Rubens, Isabella Brant, his first wife (ca. 1625); 1128. Van Dyck, Equestrian portrait of Charles V.; *1109. Domenichino, Cardinal Agucchia; above, Lucas Cranach, 1142. Adam, 1138. Eve; Correggio, *1118. Rest on the Flight into Egypt, an early work, *1134. Madonna worshipping the Child, with a beautiful landscape background.

ROOM OF VARIOUS ITALIAN MASTERS ('Maestri diversi Italiani'). On the left, *1557. Cosimo Tura, St. Dominic; *1559. Lor. Costa,

St. Sebastian; Mazzolino, 1030. Nativity, 995. Massacre of the Innocents, 1032. Holy Family; 1149. Cristof. Allori, Mary Magdalen; 1021. Paolo Veronese, St. Agnes (sketch); 1057. Franc. Albani, Rape of Europa; above, 1031. Caravaggio, Medusa. 1006. Parmigianino, Holy Family; 3417. Boltraffio, Portrait of a youth crowned with laurel (as Narcissus ?), in a rocky landscape by night; *1002. Correggio, Madonna and Child, with angelic musicians (youthful work of his Ferrara period); 1044. Fr. Albani, Dancing genii. Next come the four

ROOMS OF THE FOREIGN SCHOOLS ('Scuole Straniere'). ROOM I (Dutch Schools). On the right, 926. Gerard Dou, Pancake-seller; 922. Early copy of Rembrandt's Holy Family (the famous 'Carpenter's Family' in the Louvre). 957, 949. Netscher, Sacrifice to Venus; between them, *979. Hercules Seghers, Thunderstorm; *958. Gerard Terburg, Lady drinking; 961. Rachel Ruysch, Flowers. - *977. Jan Steen, Family feast; 854. Frans van Mieris, The charlatan. 3449. Jan van Huysum, Flowers; 877, 900. Corn. van Poelenburg, Landscapes; *972. Metsu, Lady and huntsman. *918. Metsu, Lute-player. On an easel, 882. Jacob van

Ruysdael, Cornfield.

ROOMS II & III (Flemish and German Schools). ROOм II. To the left, 788. Amberger, Portrait of C. Gross; *765. Hans Holbein the Younger, Richard Southwell (1536), with an expression blended of stolidity and slyness; above, *758. Adam Elsheimer, Landscape, with a shepherd playing on the panpipe; 812. Rubens, Venus and Adonis, the landscape by J. Brueghel (studio-piece); 895. North German School (not Lucas van Leyden), Ferdinand I. (1524). Opposite, Dürer, 851. Madonna (studio-piece), 768, 777. The Apostles James and Philip (1516), 851. Madonna (studio-piece; 1526), *766. Portrait of his father, painted in the artist's 19th year (1490; the clever face and hands are wonderfully lifelike); 842. Rubens, The Graces (sketch); 793. Elsheimer, Landscape, with the triumph of Psyche. ROOM III. To the right, 730. Herri met de Bles (Civetta), Mine; 706. Teniers the Younger (?), St. Peter weeping; also, above, a series of eight excellent pictures from the lives of SS. Peter and Paul, by Hans von Kulmbach, a pupil of Dürer.

ROOM IV (French Schools). To the right, 679, 689. Fabre, Portraits (1794) of the poet Vittorio Alfieri (p. 61) and his mistress, the Countess of Albany (till 1780 the wife of Charles Edward, the Young Pretender). 744. Nic. Frumenti (Froment), Triptych with the Raising of Lazarus, and, on the exterior, Mary as Queen of Heaven and a fine portrait of the donor (1461); *667. Jehan Clouet, Equestrian portrait of Francis I.; 668. Gaspard Poussin, Wooded landscape; 680. Nic. Poussin, Theseus at Trozen. 674. Nic. de Largillière, Jean Baptiste Rousseau; *671. Lancret (not Watteau), The flute-player (garden-scene); *774. Claude Lorrain, Sea-shore,