Gal. degli Uffizi. FLORENCE. 53. Route. 383
— *1116. Titian, Portrait of Beccadelli, papal nuncio in Venice
(1552).
'A magnificent likeness, in which the true grain of what may be called
Churchman's flesh is reproduced in a form both clear and fair but with the
slight, tendency to droop which is characteristic in priests'. — C. d- C.
*1117. Titian, Venus of Urbino (probably the Duchess Eleo-
nora), painted for Francesco della Rovere, Duke of Urbino, about
1537.
'Not after the model of a Phryne, nor yet with the thought of real¬
izing 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 trium¬
phant without loss of modesty'. — C. dc C.
1414. Guercino, Sibyl of Samos; 1115. Van Dyck, Jean de
Montfort; 1113. Guido Reni, Madonna. *1111. Mantegna, Altar-
piece, representing the Adoration of the Magi, the Circumcision,
and the Ascension, one of the master's finest and most care¬
fully executed works. *1112. A. del Sarto, Madonna with SS.
John and Francis, a masterpiece of fusion and transparent gaiety
of colour (C. cf C). 1109. Domenichino, Cardinal Agucchia ; 1107.
Daniele da Volterra, Massacre of the Innocents. *1108. Titian,
Venus, with the full and rounded form of mature womanhood,
painted aboutl547. 1104. Spagnoletto, St. Jerome ; 1105. Schidone,
Holy Family. Over the door: 1145. Lod. Carracci, Rebecca and
Eleazar; 1144. Giulio Romano, Madonna. *1141. A. Diirer, Adora¬
tion of the Magi (1504), the first important easel-painting by this
master, carefully and minutely finished, and in good preservation.
Both the aerial and the linear perspective are faulty, but the tech¬
nical handling is as perfect as in Diirer'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 form¬
erly in the imperial gallery at Vienna, whence it came to Florence by
exchange in the 18th century. — Thausing^s iDiirer\
1142. Cranach, Adam. — *1139. Michael Angelo, Holy Family
an early work, painted 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 deep hollow of
the middle distance walks the sturdy little John the Baptist, who looks
merrily back at the domestic scene. Naked figures , which have no ap¬
parent connection with the subject of the picture, enliven the background,
in obedience to the custom of the 15th cent., when the artist was ex¬
pected to show his skill in perspective or his mastery of the nude on every
opportunity. — Springer.
1140. Rubens (copy?), Venus and Minerva contending for a
youth; 1137. Guercino, Endymion; 1138. Cranach, Eve; *1131.
Raphael, Pope Julius II., a replica of the portrait in the Pitti
Palace (p. 434); 1136. Paolo Veronese, Holy Family.
The door to the left (when approached from the corridor) leads
from the Tribuna to the —
Tuscan School. I. Saloon: 1169. Andrea del Sarto, Portrait;
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