Museum. FLORENCE. 64. Route. 501
Paintings (14-16th cent.). On the entrance-wall: 4. Florentine School
(so-called Carrand Maater), Triptych, Madonna enthroned, with four
saints (ca. 1460); 27. Dirk Bouts (?), Madonna; 34. H. van der Goes (1),
Madonna; 38. Hans Baldung Grien, Scene from the Dance of Death; 41.
French School, Diptych, Madonna and Crucifixión (15th cent.). — lst Case,
Fine bronzes; 217. Bonacolsi, Cybele (?); 221. Venetian School (16th cent.),
Fortuna; 226. Giov. da Bologna, Architecture; 254, 258, 259. Venetian
candelabra; plaquettes (393. Donatello, Allegory of spring. the so-called
Pátera Martelli) and implements. 2nd Case : Enamels, mostly from Limoges,
ecclesiastical articles, table-cutlery, etc. 3rd Case: *Ivory carvings (2nd-
17th cent.), including: 24. Byzantine diptych (Sthcent.); 26. Byzantine
reliquary (lOth cent. ?); 80. Norman-Mauresque slabs in relief, from Sicily
(12th cent.). Not in a case: 155. Chess-board with scenes from court-life
(Burgundian; 15th cent.); 31. French ivory fan (flabellum), used for
keeping off flies during divine service (12th cent.?). 4th Case: Medals,
seáis, enamels, carved gems, and wood-carvings. On the walls are tapestry,
majolica, and tiles. — Beneath a coloured relief of the Madonna with a
worshipping Podestá is the entrance to the —
IV. Saloon, originally a chapel, afterwards (from about 1630)
a prison for those condemned to death, adorned with sadly damaged
frescoes, ascribed to Giotto, but perhaps executed after the fire in
1337 by his pupils (restored after 1840).
Opposite us: Paradise, with a portrait of Dante as a youth (to the
right). To the right and left, below, Madonna and St. Jerome, by Basliano
Mainardi (1490). On the side-walls, the history of St. Mary of Egypt and
Mary Magdalen. Over the door, the Infernal Regions.
The cases in this room contain valuable Florentine niellos
(including a Crucifixión resembling Fra Angelico's work and a pax
formerly ascribed to Maso Finiguerra), enamels, and goldsmith's
work. Also choir-stalls of 1493 and a flne inlaid choir-desk (1498).
— The Sidb Room, to the right, contains flne specimens of weav-
ing and embroidery and handsome ecclesiastical vestments (Carrand
V. Saloon. In front are some beautiful shields and weapons
(86. Sword, Venetian work of about 1500), bequeathed by C.
Ressmann (1900), the statesman. The two central cases contain
carvings in ivory. In the flrst are two triptychs by Baldassare degli
Embriachi (p, 163); leaf of a consular diptych of Basilius (641);
crook of a bishop's staff (14th cent.); statuette of the Madonna
(Florentine; 15th cent.); Byzantine casket (12th cent.). By the
second window, to the right, two ivory saddles (Italian; about 1400).
The goldsmith's work and works in amber may also be noticed. (The
door to the left in this saloon leads to the second floor, see p. 502.)
VI. Saloon : Bronzes of the 15th century. Entrance-wall: 21.
Reliquary of SS. Protus, Hyacinthus, and Nemesius, by Lor. Ghiberti
(1428); 20. Bertoldo, Ancient battle-scene in relief, In the case:
"Hercules and Antaeus by Ant. Pollaiuolo (below, to the left); Dona¬
tello, Cupid; Riccio, Rape of Europa (both in the middle row);
imitations of antique and Renaissance statuettes. — Exit-wall:
*12, 13. Abraham's Sacrifice by Lor. Ghiberti, and the same by FU.
Brunelleschi, the earliest Renaissance sculptures, produced in their
competition for the execution of the gates of the Baptistery in