522 Route 64. FLORENCE. t. Academy.
Rooms of the Tuscan School (I-III). — I. Room, Works of the
13-15th centuries. Left wall: 102. Cimabue, Madonna and angels
(13th cent.). [On the wall behind this picture is a fresco (shown
by the custodian on request), by Andrea del Sarto, representing the
Care of the sick in the Ospedale di San Matteo (see p. 520).] Then,
103. Giotto, Madonna with angels; School of Giotto, 104-115.
Scenes from the life of Christ, 117-126. Scenes from the life of
St. Francis; 127. Agnolo Gaddi, Madonna enthroned, with saints;
*Ambrogio Lorenzetti, 134. Presentation in the Temple (1342), 132,
136. Four scenes from the life of St. Nicholas; 147. Florentine
School (15th cent.), Portion of a chest, with the representation of a
wedding (Adimari-Ricasoli), of historical interest to art-stadents.
Adjacent, Sandro Botticelli, 161. Daughter of Herodias with the head
of the Baptist, 162. Vision of St. Augustine, 158. Death of St.
Augustine, 157. Resurrection (these four predelle). Opposite, 164.
Luca Signorelli, Madonna with saints; below, predella with Last
Supper, the Mount of Olives, and the Scourging of Christ. On easels:
*165. Gentile da Fabriano, Adoration of the Magi (the painter's
masterpiece, 1423), with pleasing episodes in the background (the
predella, Presentation in the Temple, is here replaced by a modern
copy, the original being in the Louvre); *166. Fra Angélico, De¬
scent from the Cross. — II. Room. Works of the 15-16th centuries.
To the left: 168. Fra Bartolomeo, Christ and saints (frescoes); the
monk's head in the centre is especially flne. 159. Al. Baldovinetti,
The Trinity; Albertinelli, 169. Annunciation, 167. Madonna en¬
throned, with four saints (1510); between these, 172. Fra Bartolo-
meo, Savonarola as St. Peter Martyr (copy); 183. Pontormo, Pietá;
179. Angelo Bronzino, Portrait of Duke Cosimo I. In the middle:
*195. Dom. Ghirlandaio, Adoration of the Shepherds (1485). —
III. Room. Works of the 16-18th centuries. To the left: 198. Al.
Allori, Annunciation; 207. Cristof. Allori, Adoration of the Magi.
We now return to the Domed Room and pass through the flrst
door to the right into the —
Room of Perugino (R. IV). To the left of the entrance: Pietro
Perugino, *57. Assumption of the Virgin, with SS. Miehael, Gio¬
vanni Gualberto, Dominic, and Bernard, brought from Vallombrosa
(1500); *56. Pietá (early work); *241, 242. Portraits of two monks
of Vallombrosa. 55. Fra Filippo Lippi, Madonna with four saints;
53. Perugino, Christ on the Mt. of Olives; opposite, *66. Dom.
Ghirlandaio, Madonna with angels and four saints, with predella
(No. 67; studio-piece); 65. Luca Signorelli, Crucifixión and Mary
Magdalen (striking in its expression of absolute despair); *62. Fra
Filippo Lippi, Coronation of the Virgin, one of the master's best
works; the monk below to the right, with the inscription 'is per-
fecit opus', is a portrait of the painter himself. 63. Albertinelli,
Trinity (1500); *61. Andrea del Sarto, Two angels. — The Peru¬
gino Room is adjoined on the right and left by the —