CHAPTER IV.
UFFIZI GALLERY.—ROOM OF SMALL PICTURES BY
TUSCAN MASTERS.
N a passage leading from that containing the larger pictures
of the Tuscan school to the Tribune is a valuable col¬
lection of smaller paintings, many of which were executed by
the same artists whose pictures we have already described.
The work of greatest importance is on the wall to the left
on entering, and is one of Sandro Botticelli’s most celebrated
compositions. He has called the subject Calumny, as he took
his idea from a description of a painting by the Greek Apelles.
Apelles had been slandered by a brother artist, jealous of his
fame, and the false accuser had been listened to by his patron,
King Ptolemy of Egypt ; although finally acquitted, Apelles
could not forget the offence, and he took his revenge by paint-
ing Ptolemy as King Midas with ass’s ears, seated in judgment,
and with Suspicion and Ignorance on either side. Midas
extended his hand to Calumny, who approached with a glowing
countenance, bearing a torch in her left hand, whilst dragging a
youth along with her right ; the youth raised his hand to ask
aid from heaven. Envy decked Calumny with flowers as if
to render her more attractive ; Repentance followed, represented
as a female attired in black, who turned her head towards
Truth, and wept with shame and remorse. Such was the
subject, as treated by Apelles ; but Botticelli, although adher-
ing to most of the figures, has not followed this description
See Lucian, De Calumn. ix. pp. 2-6, vol. iii. pp. 122-127.