540 Route 04. FLORENCE. h. Left Bank of the Arno:
neither the independence of conception ñor the finished mastery
of his later Román portraits. The 'Grávida' (229; see below) is
not free from doubt. — The Venetian School also occupies an im¬
portant place in the Pitti Gallery. Thus Giorgione's Concert (185 ;
p. 541); Sebastiano del Piombo's St. Agatha (179 ; p. 541); Titian's
portraits of Cardinal Ippolito de' Medici (201; p. 541), Aretino (54;
p. 543), and the Young Englishman (92; p. 543), his Bella (18;
p. 542), and his Mary Magdalen (67; p. 543); Tintoretto's Vulcan
with Venus and Cupid (3; p. 544). An excellent work of a later
period is Cristofano Allori's Judith (96; p. 544). •— Among the
non-Italian pictures we must mention two landscapes (9, 14;
p. 544), four portraits (85; p. 543), and the Allegory of War (86 ;
p. 543), by Rubens; Cardinal Bentivoglio (82; p. 543), by Van
Dyck; two portraits (16, 60 ; p. 543) by Rembrandt; and lastly the
equestrian portrait of Philip IV. (243; p. 543), by Velazquez.
The Entrance (comp. p. 464) is in the E. angle of the Piazza
Pitti, in the archway leading to the Boboli Garden. (Or we may
approach the gallery by the connecting passage from the Ufflzi;
sticks and umbrellas, see p. 495).
Tickets are obtained in the vestibule, to the right. The Scala
del Re, a new staircase in pietra serena, constructed by Luigi del
Moro in 1895-96 in the style of Brunelleschi, leads to a large ante-
chamber, with a richly coffered ceiling and a marble fountain of
the Renaissance, by Franc. di SimoneQl), from the Villa Reale di
Castello (p. 554). The adjoining room, with the ingress from the
Ufflzi, contains a large basin of porphyry.
The gallery extends through a suite of splendid saloons, richly
adorned in the baroque style by Pietro da Cortona (ca. 1640) and
embellished with allegorical ceiling-paintings whence their ñames
are derived. They are sumptuously fltted up with marble and
mosaic tables, vases, and velvet-covered seats, but are very cold in
winter. The pictures are provided with the ñame of the artist and
the subject represented. Catalogue (1902; in French), 2^2 fr.
The six principal saloons are flrst visited; the entrance was
formerly at the opposite extremity, so that the numbers of the
pictures, as enumerated below, are now in the reverse order. We
then return to the saloon of the Iliad, and enter the saloon
of the Education of Júpiter (p. 544), which adjoins it on the south.
In each room we begin with the entrance-wall.
Saloon of the Iliad, so named from the subject of the fres¬
coes by Luigi Sabatelli. — Above the door, 230. Parmigianino,
Madonna with angels (Madonna del eolio lungo); 229. Portrait of
a lady, long attributed to Raphael (known as 'La Donna Grávida') ■
228. Titian, Half-length of the Saviour, a youthful work. — *225.'
A. del Sarto, Assumption.
This picture shows with what versatility Del Sarto wa3 gifted. It
is marked by quiet and orderly distribution, and something reminiscent of