Palazzo Pitti. FLORENCE. 64. Route. 543
Annunciation, 123. Madonna in glory with four saints (1520; in¬
jured); 121, 128. Moroni, Portraits. — *243. Velazquez, Equestrian
portrait of Philip IV. of Spain, a sketch or small replica of tbe
painting at the Prado (1635); 118. A. del Sarto, Portraits of the
artist and his wife Lucrezia del Fede (injured); *245. Raphael, 'Ln
Donna Velata' (the lady with the veil), the ariist's mistress, painted
about 1515 (injured); *110. Lor. Lotto (?), The Three Periods of
Life (retouched); 109. Paris Bordone, Portrait (known as the 'Nurse
of the Medici family'); 111. Salvator Rosa, Conspiracy of Catiline.
Saloon of-Mars. Ceiling-painting by Pietro da Cortona. —
*I6. Rembrandt, 'The Rabbi', portrait of an oíd man (a late work;
ca. 1658); *85. Rubens, 'The Four Philosophers': Rubens with his
brother and (r.) two unknown scholars (ca. 1612); *83. Tintoretto,
Portrait of Luigi Cornaro. — 80. Titian, Portrait of Vesalius, the
**86. Rubens, The Terrors of War, Mars going forth (1638).
An admirably preserved and wonderful creation, the permanent and
unforgettable frontispiece to the Thirty Years' War, drawn by the hand
of the one and only artist that in the loftiest sense was called to the
work. — Burckhardt.
94. Raphael, Holy Family, called Madonna dell' Impannata (i.e.
'with the linen window'), an extensión of an originally simpler com¬
position and largely executed by pupils; 93. Rubens, St. Francis
(a youthful work). — *81. A. del Sarto, Holy Family, the colouring
most delicately blended; above, 139, 235. Rubens, Holy Family;
*82. Van Dyck, Cardinal Guido Bentivoglio, aristocratic and easy
(ca. 1624). — On an easel, **92. Titian, Portrait known as 'the
Young Englishman' (a very striking and interesting type).
Saloon of Apollo. Ceiling-paintings by Pietro da Cortona and
Ciro Ferri. — *67. Titian, Magdalen (ca. 1532), painted for the
'It is clear that Titian had no other view than to represent a hand¬
some girl. He displays all his art in giving prominence to her shape. In
spite of the obvious marks of haste which it bears, it displays a beauty
of such uncommon order as to deserve all the encomiums which can be
given to it'. — C.AC.
*66. Andrea del Sarto, Portrait of himself (?; injured); 63.
Murillo, Madonna; 62. A. del Sarto, Holy Family (1521); 60. Rem¬
brandt, Portrait of himself, beardless (about 1635); *58. A. del
Sarto, Pietá (1524); 57. Giulio Romano (?), Copy of Raphael's Ma¬
donna della Lucertola in Madrid; 56. Murillo, Madonna. — *54.
Titian, Pietro Aretino, the celebrated verse-writer and pamphleteer,
a work described by Aretino himself as a 'hideous marvel', masterly
in its characterization (1545); 88, 87. Andr. del Sarto, History of
Joseph (painted on lids of chests); 137. Giov. da San Giovanni,
The hunters. — 43. Franciabigio, Portrait (1514).
**40. Raphael, Pope Leo X. and the cardinals Giulio de' Medici
and Lodovico de' Rossi, not undarnaged, but still justifying Va-
sari's enthusiastic praise : 'No master has ever produced, or ever