with a villa copied in parts from the Villa Medici at Rome; 684. H. Rigaud, Portrait of Bossuet; 695. Phil. de Champaigne, Portrait; 848. Claude Lorrain, Landscape at evening-light; 651, 652, 654. Bourguignon, Cavalry engagements. To the left at the end

of the S. corridor is the

CABINET OF THE GEMS (closed on Sun.), containing goldsmiths' work of Florentine origin and carved gems.

The 1st, 3rd, 4th, and 6th cabinets cach contain two small columns of Sienese agate and rock crystal. On the right, in the 1st cabinet: Two reliefs in gold on a ground of jasper, by Michele Mazzafirri; vase of rock-crystal, ascribed to Benvenuto Cellini; goblet of onyx, with the name of Lorenzo il Magnifico; large vase of lapis lazuli. - 2nd Cab.: Crystal vase, with cover in enamelled gold, in the style of Benv. Cellini, executed for Diana of Poitiers, with her ciphers and half-moons; relief of Grand-Duke Cosimo II. kneeling before an altar, in Florentine mosaic (1619). 4th Cab. below, to the right, Venus and Cupid, in porphyry, by Pietro Maria Serbaldi. 5th Cab.: Fantastic vase of jasper, with a Hercules in massive gold upon it, by Mazzafirri; small vase of emerald; bas-relief in gold and jewels, representing the Piazza della Signoria, by Gasparo Mola; vase of lapis lazuli. 6th Cab. Two reliefs in gold on

a ground of jasper, like those in Cab. 1: head of Tiberius in turquoise. In the centre: Casket of rock-crystal with 24 scenes from the life of Christ, executed by Valerio Belli of Vicenza in 1532 for Pope Clement VII.

The finest carved gems are exhibited in the desk-case in front: *3200. Portrait of Savonarola; 1083. Cosimo the Elder; 489. Lorenzo il Magnifico; 500. Leo X.; 502. Clement VII.; 497. Bianca Cappello (p. 630). In the W. Corridor the first door leads to the eight

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ROOMS OF THE PAINTERS ('Sale dei Pittori'), containing a collection of portraits of artists by themselves, founded by Cardinal Leopoldo de' Medici (p. 577). ROOM I (English, German, Spanish, and French of the 16-18th cent.). On the left, 752. Romney; *540. Reynolds. *442. Zoffany (d. 1795); 555. Raphael Mengs; 434. Dürer (1498; copy of the original in Madrid); *232. Hans Holbein the Younger (damaged, and restored by another hand); 224. Lucas Cranach the Elder (a late work, 1550); 436. Georg Pencz (not by himself; 1544); above, 432. Elsheimer; 471. Angelica Kauffmann; 535. Liotard (1744). 216, 217. Velazquez (not by himself). 474. Rigaud; 549. Madame Le Brun; 473. Nic. de Largillière.

ROOM II (Dutch; 16-17th cent.). On the left, *223. A. van Dyck; *462. Sir Anthony More (1558); *445. F. Pourbus the Elder (1591). 455. F. Mieris the Elder; 441. G. van Honthorst; 453. B. van der Helst. 233. Rubens (ca. 1615); 238. Jac. Jordaens; *228. Rubens (ca. 1625). — 452. Rembrandt (ca. 1655); *451. Rembrandt (as an old man, ca. 1665). - On an easel, Rembrandt (as a youth).

ROOM III (Tuscan; 15-17th cent.). On the left, 1176. Andrea del Sarto (not his own portrait; replica of a picture in the Pitti, No. 66, p. 637). 290. Michael Angelo (not by himself); 280. A. del Sarto; 292. Leonardo da Vinci (copy of the red chalk drawing mentioned on p. 38); 1163. Lor. di Credi, portrait of Verrocchio, his teacher; 291. Vasari; 286. Filippino Lippi (fresco).

269. Al.

Allori; 262. Carlo Dolci; 298. Lod. Cardi, surnamed Cigoli; 263. Cristof. Allori; 305. Giov. da San Giovanni; 318. Franc. Furini.

ROOM IV (other Italian masters; 16-18th cent.). On the left, painters from the Emilia: 380, 374. Ann. Caracci; 386. Parmigianino; 397. Lod. Caracci; 402. Domenichino; 403. Guido Reni. On the right, Venetians: 401. Iac. Bassano; *378. Tintoretto; 384, 384 bis. Titian; 385. Paolo Veronese. Also, *288. Raphael (injured); 534. Pompeo Batoni; frame with miniature portraits.

ROOM V (Italians; 19th cent.). 573. Canova; 561. Andrea Appiani; 523. Fr. Hayez; 708. Giov. Boldini; 729. Dom. Morelli. ROOM VI (English; 19th cent.). *585. Watts; 722. Alma Tadema; 746. Holman Hunt; 764. Sargent; 588. Millais; 600. Leighton; 715. Orchardson; 724. Herkomer. ROOM VII (French and German; 19th cent.). On the right, 713. David; 776. Em. Blanche; 589. Puvis de Chavannes; 682. Corot; *531. Ingres; 575. J. Bréton; 718. Fantin-Latour; 594. Bonnat; above, 751. Constant; 785. A. Besnard (and wife). On the left, 518. Overbeck; 699. F. Preller; 777. Max Liebermann; 779. Lenbach; 754. Franz Stuck; 582. Ed. von Gebhardt. ROOM VIII (modern Dutch, Spanish, and Scandinavian). On the right, 720. Chr. Bisschop; 728. José Villegas; *615. Anders Zorn; 605. Kroyer; 636. Eilif Petersen.

The PASSAGE TO THE PITTI PALACE is closed on Sun. and festivals, except the first two sections. Sticks and umbrellas left at the entrance to the Uffizi Palace are conveyed (on week-days) to the exit of the Pitti Gallery (or vice versa) for a fee of 25 c., for which a receipt is given.

A staircase descends to a long corridor, built by Vasari in 1564 for the marriage of Prince Francesco de' Medici (p. 562), which leads over the Ponte Vecchio to the Palazzo Pitti, a walk of 10 minutes. The STAIRCASE and the CORRIDOR (1st & 2nd sections) contain numerous portraits of famous men, of more historical interest than artistic value, copies after Cristof. dell' Altissimo and others, from the originals in the collection of Paolo Giovio; also, portraits of members of the Medici family. In the third section of the corridor, on the left bank of the Arno, are views of Italian towns (17th cent.); farther on, to the left, portraits of popes and cardinals, to the right, celebrated natives of Portugal. We then ascend two flights of steps, pass through a passage (to the left, the Boboli Garden, p. 640), ascend four other short flights of steps, and finally reach the copying room and the entrance of the Pitti Gallery (comp. p. 634).

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The next door in the W. Corridor admits to the

SALA VAN DER GOES, containing paintings of the Early Netherlandish Schools (15-16th cent.). To the right: 769, 778. Hans Memling, Benedetto Portinari and his patron-saint St. Benedict (1487), belonging to a triptych, of which the central portion is in Berlin; between these, 795. Rogier van der Weyden, Entombment. **1525. Hugo van der Goes, Adoration of the Child, with shepherds (admirable popular types) and angels; on the wings, the family of the donor, Tommaso Portinari, agent of the Medici in Bruges, and their patron saints, SS. Thomas, Anthony the Hermit, Margaret, and Mary Magdalen. 846. Gerard David,

Descent from the Cross; 801 bis. Style of Memling, Portrait; 708. Gerard David, Adoration of the Magi (damaged). *703. Memling, Madonna with angels, replica of the original now at Vienna; 761. A. Dürer, Crucifixion, a green drawing relieved with white (1505), with a copy in colours by J. Brueghel (1604); *237. Master of the Death of the Virgin (not Quinten Matsys), Double portrait (1520). 698. Herri met de Bles (Civetta), Madonna enthroned

(early work).

The SALA DI RUBENS contains two huge paintings by Rubens (unfinished and much restored): to the left, *140. Henri IV at the battle of Ivry; to the right, **147. Entry of Henri IV into Paris. They were painted for Queen Maria de' Medici in 1627, for an (unexecuted) series of scenes from Henri IV's life, intended as companion-pieces to the paintings of the Luxembourg Palace (now in the Louvre). On the back-wall, 210. Madrid School, Equestrian portrait of Philip IV. (copy of a lost picture by Rubens of 1628); 1523. Copy of Van Dyck, Lords John and Bernard Stuart (original in England); 1536. Flemish School (Van Dyck?), Portrait of a lady; 238. Jac. Jordaens, Portrait. On an easel, Sustermans, Claudia de' Medici.

The CABINET OF INSCRIPTIONS (Sala delle Iscrizioni) contains Greek and Latin inscriptions and some sculptures (nearly all misnamed), most of them from Rome.

The INSCRIPTIONS are arranged in twelve classes according to their subjects (the gods and their priests, the Cæsars, the consuls, dramas, military events, private affairs, etc.).

SCULPTURES. In the middle, 262. Bacchus and a satyr; to the left, 263. Mercury; to the right, 266. Venus Urania (?); by the door, 265. Venus Genetrix; 264. Draped female figure; 305. Chrysippus; 302. Cicero (?); 301. Greek portrait-statue; 300. Demosthenes; 299. Mark Antony (?); in front, good Roman portrait-statue, described as Cicero; 295, 296. Greek heads of gods; 294. Greek portrait-statue (not Socrates); 293. Modern. Let into the wall in the passage to the Cab. of the Hermaphrodite: Relief of a wanderer; above, Fragment of a Greek votive relief with a biga, of the time of Phidias; 287. Sophocles; 282. Roman relief of a warrior. 280-270. Portrait-busts; 269. Jupiter Ammon.

CABINET OF THE HERMAPHRODITE. In the centre, 306. Hermaphrodite. By the walls: 319. Roman portrait-bust; 307. Torso of an excellent copy of the Doryphoros of Polycletus (in basalt); *347. Hermes of a Hellenistic poet; 316. Antinous; 312. Alexandrian portrait; 314. Hera; *315. Torso of a satyr (once belonging to Lor. Ghiberti), *318. The celebrated 'Dying Alexander', really a giant's head, both Pergamenian originals; 321. Roman portrait. Let into the wall: above the entrance-door, 14. Roman sacrifice; 12, 11, and (opposite) 9, 8. Reliefs of a Roman procession, from the Ara Pacis, erected by Augustus at Rome in 13-9 B.C., to which the ornamental fragments also belong; above the second door, 328. Mask of Jupiter Ammon; 336. Mænads; 329. Roman sacrifice (a work of the 15th cent.); 327. Relief with three women; 10. Relief

representing Earth, Air (1.), and Water (r.); 331. Relief of Mænads with a bull. We retrace our steps and enter the

SALA DEL BAROCCIO. Five tables of Florentine mosaic; that by the entrance-wall has a view of the old harbour of Leghorn. On the right, 211. Andr. Salaino (?), Madonna with St. Anna (copy of Leonardo da Vinci's Madonna and Child with St. Anna in the Louvre); *1583. Rosso Fiorentino, Moses protecting the children of Jethro. -1 80. Cornelis de Vos, Portrait; 163. Sustermans, Galileo; 169. Fed. Baroccio, The Virgin interceding with the Saviour, below, the members of a charitable fraternity (Madonna del Popolo, 1579). 1114. Guercino, Samian Sibyl; 190. G. van Honthorst, Adoration of the Shepherds; 196. Van Dyck (?), Margaret of Lorraine; *172. Ang. Bronzino, Eleonora of Toledo (p. 563) and her little son; 1269. Vasari, Lorenzo il Magnifico. 167. Bronzino, Portrait of a widow (not the poetess Vittoria Colonna), with Michael Angelo's statue of Rachel; 1578. Pontormo, Holy Family; Bronzino, *159, *154. Bartolomeo and Lucrezia Panciátichi, 1266. A sculptor; *188. Andrea del Sarto, Portrait. 1144. Giulio Romano, Madonna; 1119. Fed. Baroccio, Francesco Maria II., Duke of Urbino. 220. Frans Snyders, Boar-hunt.

The SALOON OF NIOBE, constructed in 1775, contains seventeen antique marble statues, including twelve Roman copies of statues from the far-famed group of the Niobide, which King Seleucus I. Nicator caused to be made for the town of Seleucia in Cilicia by unknown Greek artists about 295 B.C. The original group, which at one time stood in the open air and consisted of the goddess Niobe with her seven sons and seven daughters and their pedagogue, who were slain by Apollo and Diana, was carried off to Rome by Sosius, the Roman legate, about 38 B.C. and erected in the temple of Apollo Sosianus founded by him.

Eight of the statues were found at Rome, in the vicinity of the Lateran, and two (Nos. 250, 247) were found elsewhere. Two of the youths are each represented twice. The following have no connection with the Niobide to the right, 243. Apollo Citharœdus (restored as a woman); 242. So-called Trophós (nurse); to the left, 251. Psyche tormented; 249. Muse (so-called Anchyrrhoë); 245. So-called Narcissus.

SALA DI GIOVANNI DA SAN GIOVANNI, with several pictures by that master (p. 561): 1555. Love-scene (so-called Quadro della Sposa); 1151. Venus and Cupid (fresco). Also, 137. Bald. Franceschini (Il Volterrano), Adventure of Arlotto, the country clergyman (piovano), at Consuma (p. 657; fresco); 114, 123, 135, 149. Portraits of ladies of the English court (after Sir Peter Lely's originals at Hampton Court); 3462. Bacciarelli, Stanislaus II. of Poland; 3542. Angelica Kauffmann, Fortunata Salgher - Fantastici, the poetess. The

ROOM OF THE NEW ACQUISITIONS (Sala dei Nuovi Acquisti) Adjoining on the left is the ROOM OF THE MINIATURES BAEDEKER'S Northern Italy. 14th Edit.

follows.

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38

AND PASTELS. On the walls: 3363-3368. Angelo Bronzino, Portraits of the Medici; 3355. Hans Holbein the Younger (?), Portrait. In the middle: 3445. Style of P. Brueghel the Younger, Peasants dancing; 3341. Investiture of a nun (miniature of the 15th cent.); 544i. Portrait of Emp. Frederick III.

The door (closed on Sun.) at the end of the corridor gives upon the roof of the Loggia dei Lanzi (p. 565), which commands a beautiful view of Florence, the heights of Fiesole, and Monte Morello (p. 649).

The first floor of the Uffizi contains the Biblioteca Nazionale Centrale (adm., see p. 553; entr. by the 8th door from the piazza), which has been formed since 1860 by the union of the grand-ducal Biblioteca Palatina and the still more extensive Biblioteca Magliabechiana (founded by Antonio Magliabechi, d. 1714). The library (librarian, Dr. Sal. Morpurgo) contains about 500,000 vols., 20,000 MSS., 400,000 autographs, and 9000 drawings, engravings, and etchings (incl. many by Albrecht Dürer). There are also several very rare early books: Cicero ad Familiares (Venice, 1469); Dante, by Landino (Florence, 1481; in a handsome binding adorned with niellos); Piero de' Medici's presentation copy of the Anthologia Græca ed. Lascaris; the first printed Homer (Florence, 1488); etc.

The staircase to the right of the library leads to the STATE ARCHIVES of Tuscany (Reale Archivio di Stato), founded in 1582; it occupies 200 rooms and includes about 200,000 documents and 3-400,000 volumes. Director, Dr. Demetrio Marzi.

c. From the Piazza della Signoria to Santa Croce and the Piazza d'Azeglio. The National Museum. Quitting the Piazza della Signoria (p. 562) we follow the Via dei Gondi to the right, which leads us to the PIAZZA SAN FIRENZE (Pl. F, 5), with the church of that name. No. 1, on the W. side of this Piazza, is the Palazzo Gondi, begun about 1490 by Giuliano da Sangallo and remodelled in 1874 by Gius. Poggi, with a rustica façade tapering towards the top and a handsome court. In one of the rooms on the first floor is a chimney-piece, with a relief by Sangallo.

Immediately on the right in the VIA DEL PROCÓNSOLO (Pl. F, 5), which leads hence to the N. to the Piazza del Duomo, rises (No. 2) the Gothic Palazzo del Podestà, commonly known as the *Bargello (Pl. F, 5), begun in 1255 for the Capitano del Popolo and from 1261 (?) the residence of the Podestà, or chief magistrate of Florence. The building was repeatedly damaged by riots, fire (1332), and water (1333) during the 14th century. From 1574 it served as a prison and office of the head of the police (Bargello). The oldest part of the building, next the Via Proconsolo, is of ashlar, the upper story and the extension towards the E. (1333-45) are of unhewn stone. Between 1857 and 1865 the imposing structure was