Gal. degli Uffizi. FLORENCE. 53. Route. 381
45. Sarcophagus with the Rape of Proserpine; 47. Augustus; *48.
Marcus Agrippa; opposite, 49. Julia, daughter of Augustus (?).
Then several sarcophagi: 56. Hippolytus ; 62. Leucippidae ; 68, 72.
Labours of Hercules. Opposite, 71. Portrait of a child (Nero?);
74. Pompona (head and extremities restored); 75. Athlete, a copy
of the celebrated Doryphorus of Polycletus; *76. Julia, daughter
of Titus; 80. Vitellius ; 85. Vespasian ; 90. Vestal Virgin with por¬
trait-features; 103. Plotina, wife of Trajan; 108. Hadrian. Then
sarcophagi: 95-105. Hunt of Meleager; 80, Apollo and the Muses.
Pictures: 7. Giottino, Pieta; 6. School of Giotto, Christ on
the Mt. of Olives; 9. Simone di Martino and Lippo Memmi (of
Siena), Annunciation with lateral pictures (10. S.Julia, 8. S. An-
sano); 11, 12. Sienese School, Madonna, Hermit-saints of the
wilderness of Thebes; 14. Agnolo Gaddi, Annunciation with pre-
della; 15. Tuscan School of the 15th Cent., Coronation of the
Virgin; 16. Lorenzo Monaco, Madonna with Christ and John the
Baptist; 18. Bicci di Lorenzo, SS. Cosmas and Damianus (1429);
20. Lorenzo Monaco, Adoration of the Magi; 26. Peselli, Adoration
of the Magi; 30. A. Pollajuolo, Portrait; 21. Pier di Cosimo, Mar¬
riage of Perseus, Phineus turned into stone on looking at the head
of Medusa ; 27. Vecchietta (School of Siena), Madonna and saints ;
28. Pier di Cosimo, Sacrifice in the temple of Zeus for the libera¬
tion of Andromeda; 29. Paolo Uccelli, Cavalry-battle (1430);
33. S. Botticelli, Madonna (ill-preserved); 31. Baldovinetti, Ma¬
donna and saints; 38. Rosselli, Madonna and saints; 36. Luca
Signorelli, Madonna and Child, in the background nude shepherds ;
32. Pier di Cosimo (?), Portrait; 34. Tuscan School, Portrait; 38.
Pier di Cosimo, Liberation of Andromeda; 41. Gerino da Pistoja,
Madonna and saints (1529); *40. Andrea del Sarto, Jesus and the
Magdalene; 55. Jacopo da Empoli, Creation of Adam; 62. Cigoli,
Magdalene; 64. Francesco Boschi, Call of St. Matthew.
S. Connecting Passage , with similar decorations and con¬
tents, among which are the following fine antiques: 129. Sarco¬
phagus with the fall of Phaeton; 132. Annius Verus; 138. Thorn-
extractor; 137. Round altar with bas-reliefs, representing the
Sacrifice of Iphigenia, bearing the name of Cleomenes; 139. Mar¬
cus Aurelius; *141. Pedestal, with reliefs of Amoretti bearing the
weapons of Mars; above, similar pedestal with female figures in
fine relief; 145. Venus stooping in the bath; 146. Nymph loosen¬
ing her sandal.
W. Corridor, of the same length as that on the E., adorned
with frescoes representing the rise of art, and with portraits of
celebrated Florentines. At the entrance, 155, 156. Statues of
Marsyas, antique, both restored (the upper part of No. 156 by
Donatello); 167. Albinus (in alabaster); 168. Caracalla; 169.
Discobolus, after Myron, erroneously restored; 205. Daphnis;
365. Altered copy of the Laocoon, by Baccio Bandinelli,
Permalink: http://pid.emory.edu/ark:/25593/ksr0f
