w±<± icoute 64. FLORENCE. h. Left Bank of the Arno :
will produce, anything better'. Giulio Romano shared the execu¬
tion, the cardinal to the right of the pope being probably by him.
*150. Cornelis Janssens, Charles I. of England and his consort
Saloon of Venus. Ceiling-painting by Pietro da Cortona. —
20. A. Dürer, Adam, with the Eve (No. 1, see below), probably
only copies by Hans Baldung Grien oí the origináis in the Museo
del Prado at Madrid: 'the most perfect treatment of the nude yet
produced by northern art' (Thausing). 140. Giul. Bugiardini (?),
Portrait of a lady ('La Monaca'); 17. Titian, Betrothal of St. Catha¬
rine (copy, original in London); 15. Salvator Rosa, Sea-piece. —
13. Matteo Rosselli, Triumph of David; Rubens, **14. Hay-harvest
(near Malines), *9. Ulysses on the island of the Phseacians, ap-
pearing to Nausicaa. — 4. Salvator Rosa, Harbour at sunrise; *79.
Raphael, Pope Julius II. (copy, from the studio of Titian) ; over the
door, 3. Tintoretto, Cupid, Venus, andVulcan; 1. A. Dürer, Eve,
companion piece to No. 20. — We return henee to the Saloon of
the Iliad, and thence enter the —
Saloon of the Education of Júpiter. Ceiling-painting by
Catani. — Above the door, 256. Fra Bartolomeo, Holy Family,
resembling Raphael's Madonna Canigiani at Munich (much injured;
the original is in the Corsini Gallery, at Rome); 257. Bonifazio II.,
Sibyl prophesying to Augustas. ■—264. Tintoretto, Resurrection;
*96. Cristof Allori, Judith; 272. A. del Sarto, John the Baptist
(1523; badly restored). — Opposite, 246. Boccaccio Boccaccino,
Gipsy; 248. Tintoretto, Descent from the Cross. — 255. A. de
We now turn to the left into the Sala della Stufa. The frescoes,
illustratmg the golden, silver, brazen, and iron ages are by Pietro da
Cortona; ceiling-paintings by Matteo Rosselli, 1622. — Returning henee and
traversing a short passage, we observe on the left a small Bath Room,
most tastefully fitted up, with pavement of modern Florentine mosaic, and
four small statues of Venus by Giovanni Insom and Salvatore Bongiovanni.
Saloon of Ulysses. Ceiling-painting by Gasparo Martellini,
representing the return of Odysseus, an allusion to the restoration
of the grand-duke Ferdinand III. after the revolution. — 306.
Salvator Rosa, Landscape; 307. A. del Sarto, Madonna with saints
(spoiled). — 320. Ag. Carracci, Landscape (in opaque colours); 326.
Titian (not Paris Bordone), Pope Paul III. Farnese (original at
Saloon of Prometheus, with paintings by Giuseppe Colignon.
341. Eusebio di San Giorgio, Adoration of the Magi.
*343. Fra Filippo Lippi, Madonna and Child; in the back¬
ground SS. Joachim and Anna, and the Nativity of Mary.
'The drawing and the modelling of the flesh remind us that the age
was one in which the laws of bas-relief were followed in painting.'— C. é C.
377. Mariotto Albertinelli, Ecce Homo (fresco). — 358. Dom.
Ghirlandaio, Adoration of the Magi, a replica of the painting in the