217 
HALL OF LEONARDO 
69. ANTONIO and PIERO DEL POLLAIOLO. 
Hope. The figure of a woman seated on a bench, 
and turned to the left, having her hands clasped on 
her breast and looking towards Heaven. — On wood. 
Life size fig. 
H. m. 1,63 — L. m. 0,86. 
52. PAOLO UCCELLO,’of Florence, b. 1397, d. 1475. 
A Combat between horsemen. According to Vasari 
this is one of the four pictures, which Paolo Uccello 
executed by commission from the Bartolini family of 
Via Valfonda, and which being much damaged by time, 
were restored by Giuliano Bugiardini. A painting similar 
to this is in the National Gallery in London (N. 583) 
and represents the Battle of Sant’Egidio in 1416, where 
Braccio da Montone makes Malatesta, the Lord of Ri- 
mini, a prisoner. Vasari says that several of the figu- 
res in these paintings are intended for renowned Cap¬ 
tains of Fortune of that time. In the right hand corner 
one reads. PAOLI VCELI OPUS. — On wood. Half 
life size. 
H. m. 1,83 — L. m. 3,21. 
Hall of Michelangelo. 
1301. POLLAIOLO (Antonio Del), of Florence, b. 1429, d. 1498. 
St. Eustachius, St. Jacob and St. Vincent; three 
standing figures painted with admirable holdness and 
freshness of colouring. According to Vasari this paint- 
ing was executed in 1470 for the chapel of Cardinal 
of Portugal in the church of San Miniato al Monte near 
Florence. He also thinks that Piero del Pollaiolo, An- 
tonio’s brother, worked on it as he was more skilful 
thankes celebrated brother in painting, while Antonio 
was peculiarly clever in drawing and composing. 
On wood. Life size. 
H. m. 1,72 — L. m. 1,79. 
1295. GHIRLANDAIO (Bigordi Domenico, called Domenico del) 
of Florence, b. 1449, d. 1494. 
Adoration of the Magi. A very fine composition of