Palazzo Pitti. FLORENCE. 64. Route. 541
Fra Bartolommeo. The Virgin is raised up towards heaven most gracefully,
and ttiere is an atmosphere almost like Correggio's in the glory (C. <£• C).
_ At Florence only can one trace and tell how great a painter and how
various Andrea was. There only, but surely there, can the spirit and pre¬
sence of the things of time onhis immortal spirit be understood' (Swinburne).
224. Rid. Ghirlandaio (?), Portrait of a lady (1509); 223. Barend
van OrleyQl; not Matsys), Portrait; 218 Salvator Rosa, A warrior.
■— *216. Paolo Veronese, Daniel Bárbaro, Venetian savant and
ambassador to England; 215. Titian, Portrait, probably of Don
Diego de Mendoza (badly preserved); 214. Copy of Correggio's Ma¬
donna di San Girolamo (p. 369); *208. Fra Bartolomeo, Madonna
enthroned, with saints and angelic musicians (1512; injured); 207.
Rid. Ghirlandaio, Portrait of a goldsmith; *201. Titian, Cardinal
Ippolito de' Medici in Hungarian costume, painted in 1532, after
the campaign against the Turks, in which the cardinal had taken
part; 200. Titian, Philip II. of Spain (copy of the original in the
Prado at Madrid).
*191. Andrea del Sarto, Assumption (last, unfinished work, with
a portrait of the artist as one of the Apostles); *190. Sustermans,
Count Waldemar Christian, son of Christian IV. of Denmark; 188.
Salvator Rosa, Portrait of himself; 184. Andrea del Sarto, Portrait
**185. Giorgione (according to Morelli a youthful work of Ti¬
tian; badly preserved), 'The Concert', representing an Augustine
monk who has struck a chord, another monk with a Inte, and a
youth in a hat and plume listening.
'In one of the simplest arrangements of half lengths which it is
possible to conceive, movement, gesture, and expression tell an entire
tale. . . . The subtlety with which the tones are broken is extreme, but
the soberness of the general intonation is magical. Warm and spacious
lights, strong shadows, delicate reflections, gay varieties of tints, yield a
perfect harmony . . . How fresh and clean are the extremities, and with
what masterly ease they are done at the flnish? What sleight of hand in the
furs, what pearly delicacy in the lawn of the white sleeves?' — C. & C.
237. Rosso Florentino, Madonna enthroned, with saints.
Saloon of Saturn. Ceiling-painting by Pietro da Cortona.
Above the door, 179. Sebastiano del Piombo, Martyrdom of St.
Agatha (1520; showing Miehael Angelo's influence).
**178. Raphael, Madonna del Granduca, a work of the master's
Florentine period, formerly in the grand-ducal apartments.
'Painted in light colours and modelled with extraordinary delicacy,
the picture captivates us chiefly by the half-concealed beauty of the Ma¬
donna, who, scarcely daring to raise her eyes, rejoices over the Child
with tender bashfulness. The Infant, held by the mother with both hands,
gazes straight out of the picture and possesses all the charming grace
which characterises Raphael's later representations of children.' — Springer.
*174. Raphael, Vision of Ezekiel: God the Father, enthroned
on the living creatures of three of the Evangelists, is adored by
the ángel of St. Matthew.
'Even in his imitation of Michaelangelesque types Raphael exhibits
great freedom and the clearest consciousness of what is best adapted to