ACCADEMIA DELLE BELLE ARTI. 
138 
17, 18, 19. A. del Castagno. — Saint Jerome, Saint 
Mary Magdalen, and Saint John the Baptist, all remark- 
able for their ghastliness. 
The Birth of our Lord, by Lorenzo di Credi or Ci¬ 
goli (32.), taken from the Monastery of Sta. Chiara at 
Florence. Our Saviour is upon the ground, as an infant. 
Joseph of Arimathea is represented in thoughtful adora¬ 
tion. Two girls are kneeling by the side of the Virgin. 
Two holy women are in deep discourse, as it were, 
dwelling on the prophecies. A lad carrying a lamb is the 
only one who is inattentive. 
The Assumption of the Virgin, by Pictro Perugi- 
no (35.), from the Church of Vallombrosa: a fine spe¬ 
cimen of this master. — The upward turn of the Virgin’s 
head is charming, and the colouring is so rich and full, 
that it approaches to the Venetian school. 
37. P. Perugino. — A crucifixion. 34. Our Lord in the 
Garden of Olives. 
Two portraits, in profile, of Superiors of the Mona¬ 
stery of Vallombrosa, by Pietro Perugino, are attributed 
by some to Raphael, from the Monastery of Vallombrosa: 
interesting early portraits. 
A Deposition from the Cross (38), the upper portion 
by Filippino Lippi, and the lower by Pietro Perugino. 
St. Michael, St. John the Baptist, St. John Gualberto, 
and St. Bernard, by And. del Sarto (40.), from the Mo- 
nastery of Vallombrosa. 
A Pietá in fresco, by And. del Sarlo (42.), removed 
from the Convent of the Annunziata at Florence — very 
beautiful; and so are Two young Children, by the same 
artist (41.), taken from the Monastery of Vallombrosa. 
Fra Bartolommeo. — Virgin and Child (44, 45.), and 
other sacred subjects, not such fine specimens of this 
artist as are seen elsewhere. (36.) Four Heads of Saints