Full text: Hare, Augustus J. C.: Florence

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
	        
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