THE UFFIZI.
37
*626. Titian. The *Flora.” Supposed to be a portrait of the daugh¬
ter of Palma Vecchio.
627. Seb. del Piombo. Portrait.
629. Morone. Portrait.
631. Marco Basaiti. Allegorical scene.
*633. Titian. Holy Family.
638. Tintoretto. Portrait of Jacopo Sansovino.
639. Moretto da Brescia. Beautiful portrait of a Violin-Player.
642. Morone. Portrait of G. A. Pantera.
648. Titian. Portrait of Caterina Cornaro, Queen of Cyprus.
A narrow passage begins the collection of the Portraits
of Painters, mostly from their own hands. The portraits hung
here include those of the English artists, Watts, Millais, and
Leighton.
At the end of this passage is a small room called La Sala
di Lorenzo Monaco, containing :
*1310. Gentile da Fabriano. Four Saints. A most beautisul work,
from the Church of S. Niccolò—part of a larger picture.
1302. Benozzo Gozzoli. The Marriage of S. Catherine, the Re-
surrection, and Saints—a predella.
1309. Lorenzo Monaco (the master of Fra Angelico), a magnificent
altar-piece from Certaldo, much restored. The predella
curiously shows the temptations and annoyances to which
young monks are subjected by the devil.
1305. Domenico Veneziano, interesting as being the Master of Piero
della Francesca, whom he brought to Florence as his pupil,
in 1439. This, the altar-piece of S. Lucia de' Bardi, is his
one extant picture.
*It bespeaks a painter whose conceptions are governed by those of
Andrea del Castagno, while in technical processes he is working out
experiments of his own. The Saints, John and Nicholas, and Francis
and Mary, especially the John, have strong figures and large dull heads,
and that commonness with athletic vigour which marks the thorough¬
going realist. But the medium is new. It is a first commencement of
oil-painting, and the search for the transparent effects produces a result
quite different from any contemporary colouring—a scheme of light and
thin greys, greens, blues, and pinks, with notes of sharp black and
white on the marbles of the floor and canopy ; gaiety and transparency
are attained, but not harmony.’—S. C.
*1286. Sandro Botlicelli. The Adoration of the Magi. Cosimo
de’ Medici kneels at the feet of the Madonna. The youths