500 Route 64. FLORENCE. c. National
Opposite the tower-room are two rooms containing sculptures.
In the Vestibule are architectural fragments and inscriptions. Also:
Paolo di Maestro Giovanni, 51. Madonna, 50. St. Peter, 52. St. Paul,
three statues from the Porta Romana (1328); 67. Romanesque font
from Santa Maria Novella (1302). In the middle, large Roman¬
esque font from the neighbourhood of Lucca. — Main Room. On
the entrance-wall: 91, 137. Benedetto da Rovezzano, Two marble
niches from the Palazzo Cepparello. — On the left wall: *128 (re-
volving), Miehael Angelo, Drunken Bacchus, a youthful work of
masterly modelling, executed at Rome for Jac. Galli (1497); Benedetto
da Rovezzano, Five reliefs (1505) from the history of St. Giovanni
Gualberto (p. 559). On the end-wall: *111. Miehael Angelo, Bust
of Brutus, a very late work of the master, unfinished (for the reason
given in the inscription alluding to the suppression of liberty at
Florence); 112. Benedetto da Rovezzano, Chimney-piece from the
Pal. Rosselli del Turco (p. 475). On the right wall: Pierino daVinci
(a nephew of Leonardo), 117. Death of Count Ugolino (p. 433), 118.
Holy Family (two reliefs of about 1550); Miehael Angelo, *123.
Holy Family, an unfinished relief, unique among his youthful works
for its calm beauty, *224 (revolving), Statue of David (unfinished),
begun in 1529 for Baccio Valori; 132. Bart. Ammanati, Leda with
the swan (after Miehael Angelo).
The Staircase, halfway up which is a triumphal arch, ascends
to the —
First Floor. The loggia, known as Verone, contains seven bells,
the oldest east by Bartolomeo Pisano in 1249. — I. Saloon (Salone
Donatelliano). This room contains ten origináis by Donatello, and
casts of his other works (comp. p. 1). In the centre, Cast of the
equestrian statue of Gattamelata at Padua (p. 273). In front of it,
the 'Marzocco' (p. 474). In a niche in the back-wall: **St. George,
in marble, a chivalrous figure breathing cheerful and courageous
youth, posted flrmly and deflantly, with a huge shield and simple
armour (1416; brought hither from Or San Michele, p.476, in 1891).
To the left, David, eharacterized by a youthful, awkward conscious-
ness of victory (1416; marble), recalling the St. George; San Gio-
vannino (i. e. the Baptist as a child), an alto-relief in sandstone; to
the right, marble statue of the Baptist (ca. 1412), a pendant to the
Magdalen in the Baptistery (p. 478); Crucifixión, a relief (partly
gilded). In front, to the left, **David, a slender and youthful figure
in bronze, of great charm and noble bearing (ca. 1430?); to the
right, Bronze figure of a genius (Attis) trampling on a snake (the so-
called 'Amor'). Between these: Bronze bust of a young patrician
(the so-called youthful Gattamelata); coloured terracotta *Bust of
NiccolS daUzzano (?; p. 468), a masterly and strikinglylifelike work
(colouring partly restored).
II. Saloon (dark): valuable tapestries and fabrics on the walls.
III. Saloon : *Carrand Collection, left to the Museum in 1888]