d. ca. 1348), Heads of saints (a fragment of a fresco). Ugolino da Siena (14th cent.), 1188. Betrayal of Christ; 1189. Procession to Calvary. 909. Benvenuto da Siena (c. 1520), Madonna and Child.

Room III. TUSCAN SCHOOLS. To the left: 782. Botticelli, Madonna and Child; *666. Fra Filippo Lippi (Florence; d. 1496), Annunciation, painted like No. 667 for Cosimo de' Medici and marked with his crest; 598. Filippino Lippi, St. Francis in glory, with the stigmata; 916. Botticelli, Venus and Cupid; *583. Paolo Uccello (Florence; d. 1479), Cavalry engagement, one of the earliest Florentine representations of a secular subject; 1196. Tuscan School, Amor and Castitas; 1230. Domenico Ghirlandajo (1449-94), Portrait of a woman; 1033. Lippi, Adoration of the Magi; 626. Botticelli, Young man; no number, Dom. Ghirlandajo, Portrait of a lady ('the lovely Benci' of Longfellow; lent by Mr. Henry Willett). *1034. Botticelli, The Nativity, to the left Magi, to the right the Shepherds, in front shepherds embraced by angels.

The subject is conceived in a manner highly mystical and symbolical. At the top of the picture is a Greek inscription to the following effect: 'This picture I, Alessandro, painted at the end of the year 1500, in the (troubles) of Italy in the half-time after the time during the fulfilment of the eleventh of St. John in the second woe of the Apocalypse, in the loosing of the devil for three years and a half. Afterwards he shall be chained and we shall see him trodden down as in this picture'.

589. Filippo Lippi, Madonna and Child, with an angel. - 1126. Botticelli, Assumption of the Virgin.

In the centre of the upper part of the picture is the Virgin, kneeling before the Saviour, while around are cycles or tiers of angels, apostles, saints, and seraphim. Below are the apostles gathered round the tomb of the Virgin, with portraits of the Palmieri, the donors of the altarpiece. The picture was probably executed by a pupil from a cartoon by Botticelli.

226. Botticelli, Madonna and Child, with John the Baptist and angels, with a rose-hedge in the background ('no man has ever yet drawn', says Mr. Ruskin, 'and none is likely to draw for many a day, roses as well as Sandro has drawn them'); *667. Fra Filippo Lippi, SS. John the Baptist, Francis, Lawrence, Cosmas, Damianus, Anthony, and Peter the Martyr, sitting on a marble bench (painted for Cosimo de' Medici 1266-1336).

'No one draws such lilies or such daisies as Lippi, Botticelli beat him afterward in roses, but never in lilies'. Ruskin.

Room IV. EARLY ITALIAN SCHOOL. The pictures in this room are mainly of historical interest. Neither Giotto, the chief founder of Italian painting, nor his pupils are represented by authenticated works, but there are several fine works of the 14th century.

'The early efforts of Cimabue and Giotto are the burning messages of prophecy, delivered by the stammering lips of infants'. - Ruskin. To the left: School of Taddeo Gaddi (d. after 1366), 215. Saints; 216. Baptism of Christ. 594. Emmanuel (Greek priest, who lived apparently at Venice; Byzantine School), SS. Cosmas and Damianus (one of the earliest pictures in the Gallery in point of artistic development); 573-575. Andrea Orcagna (Florentine School, master of Fra Angelico; d. 1376), Three small pictures belonging to the large altarpiece, No. 569; 276. Ascribed to Giotto (d. 1336), Heads of Apostles; 569. Orcagna, Coronation of the Virgin (large altarpiece from the church of San Pietro Maggiore in Florence; school-piece); 701. Justus of Padua (School of Giotto; d. 1400), Coronation of the Virgin, dated 1367 (a small triptych, of cheerful, soft, and well-blended colouring); 567. Segna di Buonaventura (Tuscan School; ca. 1310), Crucifixion; 576-578. Orcagna, Three other pictures belonging to No. 569; 580a, 579 a. Terminal panels of 580 and 579 (see below); 568. School of Giotto (early Florentine; ca. 1330), Coronation of the Virgin; 579. School of Taddeo Gaddi, Baptism of Christ; 565. Giov. Cimabue (b. 1240; Tuscan School), Madonna and Child enthroned; 581. Spinello Aretino, John the Baptist, with SS. John the Evangelist and James the Less; 564. Margaritone (d. 1293), Virgin and Child, with scenes from the lives of the saints; 570-572. Orcagna, Trinity, with angels adoring, belonging to No. 569; 580. Jacopo di Casentino (d. ca. 1390), St. John the Evangelist lifted up into Heaven.

Room V. SCHOOLS OF FERRARA AND BOLOGNA. To the left: Cosimo Tura (d. 1498), 905. Madonna; 773. St. Jerome in the wilderness; 772. Madonna and Child. 597. Marco Zoppo (end of 15th cent.), St. Dominic as Institutor of the Rosary; 82. Mazzoliño da Ferrara (1480-1528), Holy Family; 1062. School of Ferrara, Battle. *1119. Ercole Grandi di Giulio (Ferrara; d. 1531), Madonna enthroned, with John the Baptist and St. William; the throne is adorned with sculptural panels of Adam and Eve (a masterpiece). Benvenuto Tisio, surnamed Garofalo (d. 1559), 642. Agony in the Garden; *81. Vision of St. Augustine; 170. Holy Family; *671. Madonna and Child enthroned, surrounded by saints. 590. Marco Zoppo, Dead Christ, with John the Baptist and Joseph of Arimathea (lucid in colouring); 770. Giovanni Oriolo (Ferrara; d. after 1461), Leonello d'Este, Marquis of Ferrara (d. 1450); 1127 Ercole di Roberto Grandi (d. before 1513), Last Supper. Lorenzo Costa (early School of Ferrara, contemporary of Francia; d. 1535), 895. The Florentine general, Francesco Ferucci; *629. Madonna enthroned, dated 1505.

Francesco Francia (Raibolini, early school of Bologna, also a goldsmith; d. 1517), *179. Virgin enthroned and St. Anne; 180. Pietà (the lunette of No. 179).

These two pictures constituted formerly one altarpiece. The composition is of a very high order, reminding us of Perugino, by whom there is a Pietà very similar to this in Florence.

771. Bono di Ferrara (15th cent.), St. Jerome in the desert; 169. Mazzolino (Ferrara; d. 1530), Holy Family; 638. Francia, Virgin and Child, with two saints; 73. Ercole Grandi, Conversion of St. Paul; 641. Mazzolino, The Woman taken in adultery; 640. Dosso Dossi (Ferrara; d. ca. 1534), Adoration of the Magi; 752. Dalmasio (end of the 14th cent.), Madonna and Child; 669. Ortolano (Ferrara; d. ca. 1525), SS. Sebastian, Rock, and Demetrius, an imitation of Garofalo and Dosso; 1234. Dosso Dossi, Allegorical group; 1247. Ercole di Roberto Grandi, Israelites gathering manna.

Room VI. UMBRIAN SCHOOL. To the left: 912-914. Pinturicchio

(? School of Signorelli), Illustrations of the story of Griselda.

Slight in execution, but fresh in conception and skilfully composed. The story of Griselda is the last in Boccaccio's Decameron.

Melozzo da Forli (Umbrian school, influenced by Piero della Francesca; d. 1494), 756. Music; 755. Rhetoric (three similar representations at Windsor Castle and at Berlin). 703. Bernardino Pinturicchio (d. 1513), Madonna and Child; 1103. Fiorenzo di Lorenzo (end of 15th cent.), Madonna and saints (lucid colouring); 1092. Bernardino Cotignola (ca. 1500), St. Sebastian, with a landscape in the Flemish style; 249. Lorenzo San Severino (second half of the 15th cent.), Marriage of St. Catharine; 769. Fra Carnovale (ca. 1480), St. Michael and the serpent; 1107. Niccolò da Foligno (Alunno; end of the 15th cent.), Crucifixion, a triptych; 1104. Paolo Manni (d. 1544), Annunciation; 702. L'Ingegno (Andrea di Luigi; 15th cent.), Madonna; 691. Lo Spagna (first half of the 16th cent.), Ecce Homo; 1051. Umbrian School, Our Lord, St. Thomas, and St. Anthony of Padua, the Donor kneeling to the right; 929. After Raphael, Madonna and Child, old copy of the Bridgewater Madonna; *288. Perugino (Pietro Vannucci, the master of Raphael; d. 1524), Madonna adoring the Infant, with the archangel Michael on the left and Raphael with Tobias on the right; 693. Pinturicchio, St. Catharine of Alexandria; 1220. L'Ingegno, Madonna and Child; 1032. Lo Spagna, Agony in the Garden.

**213. Raphael (Sanzio; 1483-1520), Vision of a knight (a youthful work, as fine in its execution as it is tender in its conception). This little gem reveals the influence of Raphael's early master Timoteo Viti, without a trace of the later manner learned from Perugino. The original *Cartoon hangs close by.

'Two allegorical female figures, representing respectively the noble ambitions and the joys of life, appear to a young knight lying asleep beneath a laurel, and offer him his choice of glory or pleasure'. Passavant.

**1171. Raphael, Madonna degli Ansidei, bought from the Duke of Marlborough in 1884 for 70,000l., the largest sum ever given for a picture.

This Holy Family was painted by Raphael in 1606 for the chapel of the Ansidei family in the Servite church at Perugia. In 1764 it was purchased by Lord Robert Spencer, brother of the third Duke of Marlborough. The two figures flanking the Virgin are those of John the Baptist and St. Nicholas of Bari, the latter represented in his episcopal robes. The small round loaves at his feet refer to his rescue of the town of Myra from famine. In the background is a view of the Tuscan hills. From the canopy hangs a rosary, recalling a similar ornament in Mantegna's Holy Family in the Louvre. This great work, the most important example of Raphael in the country, was executed entirely by the master's own hand and is in admirable preservation.

*744. Raphael, Madonna, Infant Christ, and St. John (the 'Aldobrandini' or 'Garvagh Madonna'). 'The whole has a delicate, harmonious effect. The flesh, which is

yellowish in the lights, and lightish brown in the shadows, agrees extremely well with the pale broken rose-colour of the under garment, and the delicate bluish grey of the upper garment of the Virgin. In the seams and glories gold is used, though very delicately. The execution is particularly careful, and it is in an excellent state of preservation'. - W.

*168. Raphael, St. Catharine of Alexandria.

'In form and feeling no picture of the master approaches nearer to it than the Entombment in the Borghese Palace, which is inscribed 1507.'- W. 181. Perugino, Madonna and Child; 751. Giovanni Santi (Umbrian painter and poet, Raphael's father; d. 1494), Madonna; *1075. Perugino, Virgin and Child, a work of great depth of feeling; *27. Raphael, Pope Julius II. (replica of the original in Florence); 596. Palmezzano (pupil of Melozzo; d. after 1537), Entombment, painted under the influence of Giov. Bellini. Signorelli (d. 1523), 1128. Circumcision, a dramatic composition in the style of Michael Angelo, of whom Signorelli is generally considered the forerunner (the figure of the child has been spoiled by repainting); 1133. Adoration of the Holy Child (school-piece?). 908. Piero della Francesca (ca. 1460), Nativity (injured and retouched); 911. Pinturicchio, Return of Ulysses, or Lucretia and Collatinus (fresco from Siena, about 1509); 1218, 1219. Francesco Ubertini (d. 1557), History of Joseph. 758. Francesca (?more probably by Paolo Uccello), Portrait of a lady; 665. Baptism of Christ; 585. Portrait. 910. Ascribed to Signorelli (more probably by Genga da Urbino), Triumph of Chastity, a fresco; 282. Lo Spagna (? more probably by Bertucci of Faenza, a contemporary belonging to the Eclectic School), Madonna and Child enthroned.

Room VII. VENETIAN AND BRESCIAN SCHOOLS. To the left: 1098. Bart. Montagna (d. 1523; Venetian School), Virgin and Child; *625. Moretto (Alessandro Bonvicino, the greatest painter of Brescia; d. about 1560), Madonna and Child, with saints; 802. Montagna (?), Madonna and Child; 1023. Giambattista Moroni (portrait-painter at Bergamo, pupil of Moretto; d. 1578), Portrait of an Italian lady; *748. Girolamo dai Libri (Verona; d. 1556), Madonna and Child, with St. Anne, clear in colour and harmonious in tone, heralding the style of Paolo Veronese; *16. Tintoretto (Jacopo Robusti, Venice; d. 1594), St. George and the Dragon; 24. Sebastian del Piombo (Venice, follower of Michael Angelo; d. 1547), Portrait of a lady, as St. Agatha; 1105. Lorenzo Lotto (Treviso ; d. ca. 1556), The Apostolic prothonotary Giuliano; 26. Paolo Veronese (d. 1588), Consecration of St. Nicholas; 1041. Paolo Veronese(?), St. Helena; 34. Titian (Tiziano Vecellio; 1477-1576), Venus and Adonis (an early copy of the original in Madrid); *1022. Moroni, Nobleman; 224. Titian, The Tribute Money. - *4. Titian, Holy Family, with adoring shepherd.

'This picture is painted in Titian's early style, and recalls at once the schooling of Giorgione and Palma'. Crowe and Cavalcaselle, 'Titian'.

*1. Sebastian del Piombo, Raising of Lazarus.

'The transition from death to life is expressed in Lazarus with wonderful spirit, and at the same time with perfect fidelity to Scripture.

P

The grave-clothes, by which his face is thrown into deep shade, vividly excite the idea of the night of the grave, which but just before enveloped him; the eye looking eagerly from beneath this shade upon Christ his Redeemer, shows us, on the other hand, in the most striking contrast, the new life in its most intellectual organ. This is also expressed in the whole figure, which is actively striving to relieve itself from the bonds in which it was fast bound'. W.

The picture was painted in 1517-19 in competition with Raphael's Transfiguration. The figure of Lazarus is quite in the spirit of Michael Angelo.

20. Sebastian del Piombo, Portraits of the painter with his seal ('piombo') of office in his hand, and Cardinal Ippolito de' Medici, painted after 1531. *635. Titian, Madonna and Child, with SS.

John the Baptist and Catharine.

'Here we are transported into a scene almost heavenly in the fulness of its pathos and loveliness, and there is true solemnity and religious grandeur in the tender feeling which enlivens a group in keeping, yet in contrast, with a landscape of delicious lines, whose enamelled greys so delicately harmonize with the rich blues, yellows, and crimsons of the dresses in the figures'.

C. & C.

1025. Moretto, Portrait of an Italian nobleman (1526).

Titian, Bacchus and Ariadne.

*35.

'This is one of the pictures which once seen can never be forgotten Rich harmony of drapery tints and soft modelling, depth of shade and warm flesh all combine to produce a highly coloured glow; yet in the midst of this glow the form of Ariadne seems incomparably fair. Nature was never reproduced more kindly or with greater exuberance than it is in every part of this picture. What splendour in the contrasts of colour, what wealth and diversity of scale in air and vegetation; how infinite is the space how varied yet mellow the gradations of light and shade!' C. & C.

932. Italian School, Portrait of a man; 636. Palma Vecchio (d. 1528; pupil of Titian), Portrait of Ariosto; 816. Cima da Conegliano (Venice, contemporary of Bellini; about 1500), Christ appearing to St. Thomas (freely restored); *735. Paolo Morando (Cavazzola, the most important master in Verona before Paolo Veronese; d. 1522), St. Rochus with the angel, an excellent specimen of his work; 234. Catena (pupil of Giov. Bellini), Warrior adoring the Infant Christ; 287. Bartolommeo Veneziano (rare Venetian master, first half of the 16th cent.), Portrait, dated 1530 (rich in colour); 1203. Giovanni Busi (Cariani, Venetian School; d. ca. 1541), Madonna; 277. Jacopo Bassano (Jacopo da Ponte; d. 1592), The Good Samaritan; 930. Venetian School, Garden of Love; *697. Moroni, Portrait of a tailor ('Tagliapanni'). Titian, Christ and Mary Magdalene after the Resurrection ('Noli me tangere').

*270.

A youthful work of the master. The slenderness of the figures, which are conceived in a dignified but somewhat mundane spirit, and the style of the landscape reveal the influence of Giorgione.

632, 633. Girolamo da Santacroce (Venetian School; about 1530), Saints; *280. Giovanni Bellini (1430-1516; described by Mr. Ruskin as 'the mighty Venetian master who alone of all the painters of Italy united purity of religious aim with perfection of artistical power'), Madonna of the Pomegranate; 623. Girolamo da Treviso