176 
PITTI GALLERY. 
are unconstrained and free, as in Del Sarto’s own creation, the 
Nativity, at the Servi. The Virgin is most dignified in air and 
pose. Decorum and grave beauty are almost as combined as 
in Della Porta, without the emptiness which grew to a defect 
with Andrea’s later years ; the colour is rich, and in good 
keeping with a landscape full of atmosphere. 
St. Mark, a colossal figure by Fra Bartolommeo, is a gigantio 
and powerful figure, grand in drawing and composition. He is 
seated in a niche, holding his gospel and pen with both hands, 
whilst looking back, lost in contemplation. The picture was 
placed over the entrance to the choir of St. Mark, but after the 
demolition of the choir, which was in the centre of the church 
it was bought by Prince Ferdinand de’ Medici, and in 1790 
was taken to Paris, where it was transferred from wood to 
canvas. 
A man’s portrait, by Philippe de Champagne (1602-1674) 
and another portrait by Morone, are both excellent pictures. 
A small but interesting picture below of the Woman takei 
in Adultery, is by Mazzolino da Ferrara (1481-1530). 
In the centre of the third wall is a large battle-piece, b 
Salvator Rosa, and below it, a smaller picture of the sam 
subject, superior to the larger ; both are full of life and spirit 
and are among the best works of the master. 
Over the door is a Meet of Huntsmen, by Giovanni di Sa 
Giovanni (1590-1636), a Florentine painter of the secon 
revival ; the heads are very spirited. 
Between the door and windows is the portrait of Guidobald 
II., Duke of Urbino, the grandfather of Vittoria della Rover¬ 
by Federigo Zuccaro, a painter of the Roman school (1539 
1609). Beside it is a Holy Family, by Rubens ; the colourin 
of the children is very lovely. 
Below is the portrait of a lady, by Leonardo da Vinci (1452 
1519). A most exquisitely finished painting; the drawing 
careful, though hard in outline, caused by cleaning ; the lip 
are just closed, the eyes calm, the nostril delicate ; her grav