139
ACCADEMIA DELLE BELLE ARTI.
in fresco, and a fifth in oil, the last representing St. Peter
Martyr with the features of Savonarola.
Mariolto Albertinelli, The Annunciation (51.), from
the Monastery of San Zanobi, at Florence.
71. Angiolo Bronzino, The Taking down from the
Cross: grand, but unfortunately injured by the picture-
cleaner.
72. 70. Two fine portraits by the same artist: one
unknown. The other is an armed soldier, probably one
of the Medici.
91. Cigoli. — Saint Francis receiving the Stigmata.
An admirable painting: the expression of fatigue and utter
weakness in the countenance of the Saint is admirably
true to nature. According to the story, Cigoli felt himself
unable to realise the idea of the Saint, when a pilgrim,
wayworn and drooping, craved an alms. Cigoli requested
him to serve as a model. The pilgrim consented, but
dropped from debility: and, at that moment, the painter
made the sketch which he worked up into this compo-
sition.
90. Cigoli. — Saint Francis in prayer, even more im¬
pressive than the preceding.
Amongst a collection of small pictures and drawings
by early masters, placed, provisionally, in rooms near
the door of entrance, are many specimens of the ancient
Tuscan school, on wood, literally painted tables, as they
are called in our old English. Two by Frate Angelico,
which served as shutters, and eight more, divided into
35 subjects, where the actions of our Lord’s life are painted
with great delicacy and beauty. These tablets were taken
from the Convent of the Annunziata.
By the same hand is the Last Judgment, full of sigu¬
res, many of them of a fine expression.
The finest work in this department of the collection