74 Route 4.
3rd Room: 11. School of Leonardo, John the Baptist; 15. Madonna
with two donors of the picture; 17. Cesare da Sesto, Adoration of the Magi,
the master's chief, aud one of his latest works; "18. Leonardo's School,
Christ and John; 19. Madonna; 29. A. Bronzino, Portrait.
4th Room: 1. School of Mantegna, Suffering Christ; 4. Aloise Vivarini,
Madonna enthroned; 9, 13, 16, 22, 25, 28 etc. Canaletto , Views of Venice;
19. Tiberio Tinelli, Portrait. — Hence in a straight direction to the 5th , r.
to the 7th and 8th rooms.
5th Room: 5. Parmeggianino, Madonna (tempera); 15. Giorgione (?),
Portrait of the Principe di Salerno; 79. L. Lotto, Madonna with St. Peter
the Martyr; 25. Titian (?), Penitent Magdalene; 27. Palma Vecchio, Madonna,
saints and donors ; 33. Pinturicchio , Assumption; " 35. Bart. Vivarini, Ma¬
donna enthroned ; 36. Breughel, Penitent, deceived by the world (tempera);
■36. School of Perugino, God the Father; "40. Parmeggianino, Portrait of his
daughter; 51. Mignaud, Portrait of Fenelon.
6th Room: 4. Velasquez, Drinkers, a copy; "14. Mantegna, S. Eufemia;
■37. Holbein (V), Portrait of Erasmus. — Hence back to the 4th room, from
which the collection of the master-pieces is reached.
7th Room: 1. Salvator Rosa, Christ and the scribes; 2. Sebastian del
Piombo, Mary watching the sleeping infant Jesus; 3. Correggio , Madonna,
termed la Zingarella or del Coniglio (rabbit); 4. Rembrandt, Portrait;
"5. Titian, Danae; 6. Correggio, Betrothal of St. Catharine; 8. Titian,
Portrait of Paul III; 9. Correggio (?), Descent from the Cross; 11. Titian,
Portrait of Philip II.; 12. Spagnoletto, St. Sebastian; 13. 14. St. Jerome,
by the same master: 15. Guercino, Magdalene; 16. Rubens, Monk.
8th Room to the 1.: "17. Giulio Romano, Holy Family, termed Madonna
•del Gatto; "18. Raphael (?), Portrait of the Cavaliere Tibaldeo; 19. Giovanni
Bellini, Portrait; '■' 20. Raphael, Holy Family (Madonna col divino amore);
121. Andrea del Sarto, Copy of Raphael's portrait of Leo X., with Cardinals
Giulio de Medicis and Rossi (at Naples this picture is declared to be the
original); 22. Raphael, Portrait of Cardinal Passerini; 23. Luini, Madonna;
24. And. del Sarto (?), Portrait; "25. Adoration of the Magi; "26. Christ on
the Cross, both by Netherlands masters; 27. Breughel, The seven blind
men; "28. Nativity (date 1512), ascribed to Diirer; 29. Perugino, Madonna;
''31. H. van Eyck, St. Jerome extracting the thorn from the lion; "32. M.
Venusti, Copy of Michael Angelo's Last Judgment, before its disfigurement;
"33. Giovanni Bellini, Transfiguration; 34. Holy Family, master unknown;
■35. Parmeggianino, Lucretia; 36. Saniafede, Madonna and saints.
Returning to the exit, the visitor ascends the central stair¬
case to the
containing numerous ancient Italian works (200,000 vols. , 4000 MSS.) and
valuable Greek MSS. (among which Lycophron's Alexandra , Quintus Smyr-
•ngeus, date 1311), and Latin (e. g. Charisius ars grammatica, the halfburned
MS. of Festus, a mass-book with beautiful miniatures of fruit and flowers,
termed la Flora); catalogues for the use of visitors. In the principal hall
the custodian awakens a remarkably fine echo. Books may not be removed
from the library, but within its precincts the use of three at a time is per¬
mitted. Readers enter from the exterior (not through the museum) by the
last door reached by the stair to the r. in the museum buildings. Many
complaints of defectivenes of the arrangements are made.
The third staircase leads to the W. wing, containing the
other half of the picture-gallery and several important collections.
The first room to the r. contaius
On the floor by the entrance, a chained dog , with the warning inscrip¬
tion "cave canem", a mosaic found in the house of the Tragic Poet at Pom-