390 Route 53. FLORENCE. Gal. degli Uffizi.
subjects (the gods and their priests, the consuls, dramas, military events,
private affairs, etc.). There are also some fine Statues : "262. Bacchus
and Ampelus; *263. Mercury; 266. Venus Urania; *265. Venus Genetrix;
264. Priestess (head new). To the left of the door of the next room an inter¬
esting relief representing earth, air, and water. On the right, Barbarian
with a horse. Also a number of cinerary urns and busts.
Cabinet of the Hermaphrodite. 307. Torso of Bacchus in
basalt; 308. Ganymede, with the eagle, restored by Benvenuto
Cellini; 310. Hercules and the serpents; *315. Torso of a Faun;
above it, 331. Victories sacrificing bulls; *318. The celebrated
'Dying Alexander', a marble head of the youthful hero, recalling
the Laocoon; 306. Hermaphrodite; 316. Antinous; 323. Cupid
A door in this cabinet leads to the —
Cabinet of the Cameos (when closed visitors apply to the
Cases 1st-4th contain the antique cameos, 5th and 6th the modern;
7th-10th the ancient cut stones (intaglias), 11th and 12th the modern.
In the 1st Case, to the left of the entrance, the cameo *No. 3. (red numbers),
with the Sacrifice of Antoninus Pius, is remarkable for its size; 7. Cupid
riding on a lion, with the name of the artist (Protarchos); 9. Cupid
tormenting Pysche; 31. Nereid on a hippocampus. 2nd Case: 36. Judgment
of Paris; 51. Zeus of Dodona; 63. Hercules and Omphale. 3rd Case: 86.
Youthful Augustus; 100, 101. Tiberius. 4th Case: 148. Wounded stag;
156. Fall of Phaeton; 162. Bacchus and Ariadne. 7th Case (opposite the
door): 28. Apollo; *54. Hercules and Hebe, with the name of the artist
Teucros; 73. Satyr and child. 8th Case: 101. Mourning Cupid; 145. Apollo.
9th Case: 176. Bacchante; 185. Pluto; 190, 191. Leander(?). 10th Case:
chiefly portrait-heads. 11th Case: 4158. (black numbers), Sphinx, the
seal of Augustus. 12th Case: (modern): *371. Head of Savonarola; 373.
Leo X., etc. — The next four cases contain the collection bequeathed by
Sir William Currie to the Uffizi in 1863: 5. Hermaphrodite; 20. Dancing
Satyr; 35, 50. Fine heads; 106. Ajax and Achilles, etc. — Also six
works in niello (engraving on silver), e.g. Coronation of the Virgin by
Maso Finiguerra; then ivory carving and miniatures. By the wall opposite
the window: Face carved in wood, purporting to have been copied from
a cast of Dante's features taken after death, presented in 1865 by the
Marchese Torrigiani. In the corner are fragments of glass from the cata¬
combs bearing early Christian representations.
Saloon of Barroccio. Four tables of Florentine mosaic. That
in the centre, executed in 1613-18 by Jacopo Antelli, from Li-
gozzo's design, cost 40,000 zecchins or ducats.
Right: 154, 159. Bronzino, Portraits of Panciatichi and his wife;
155. Venetian portrait; 157. Honthorst. Infant Jesus adored by angels; 158.
Bronzino, Descent from the Cross; 162. Guido Reni, Sibyl; 163. Suster-
mans. Galileo; 164. Pourbus, Portrait; 166. Sogliani, Madonna; 169.
Baroccio, The Virgin interceding with the Saviour (Madonna del Popolo,
1579); 171. A. Carracci, Man with an ape on his shoulder; 180. Rubens (1),
Helena Fourment, his second wife; 186. Carlo Dolci, Magdalene; 188. An¬
drea del Sarto (?), Portrait; 190. Honthorst, Adoration of the Shepherds;
191. Sassoferrato, Madonna dei Dolori; 192. Sustermans, Portrait; 195.
Caravaggio, The tribute-money; 196. Van Dyck, Margaret of Lorraine;
"197. Rubens, Elizabeth Brand, his first wife; 203. Guido Reni, Brada-
mante and Fiordaspina (from Ariosto's Orlando Furioso); 210. Velazquez,
Philip IV. of Spain on horseback (a copy by different hands); 211. Sa-
laino, Copy of the Holy Family of Leonardo da Vinci (in the Louvre);
213. Bugiardini, Madonna; 216. Rubens, Bacchanalian (damaged); 220.