THE  UFFIZI.
27
7.  Giottino.  (Tommaso  di  Stefano.)  The  Entombment.
9.  Simone  Memmi,  1333.  The  Annunciation.
•The  awkward  drawing  down  of  the  corner  of  the  mouth  in  the
Madonna  gives  a  fretful  expression.’—Burckhardt.
12.  Lorenzetti.  The  Story  of  a  Hermit’s  Life.
13.  Neri  de'  Bicci.  The  Annunciation.
18.  Lorenzo  de’  Bicci.  SS.  Cosmo  and  Damian  (removed  from  the
cathedral).  Beneath  are  the  Miracle  of  the  Moor  and  the
Martyrdom  of  the  sainted  doctors.
21,  28,  38.  Pietro  di  Cosimo.  The  Story  of  Andromeda.
24.  Lorenzo  di  Credi.  Holy  Family.
26.  Giuliano  Pesello.  The  Coming  of  the  Magi.
29.  Paolo  Uccello.  A  Battle-Scene.
30.  Antonio  di  Pollajualo.  A  Portrait.
36.  Luca  Signorelli.  Virgin  and  Child—a  poor  specimen  of  this
great  master.
In  this  Madonna,  the  spiritual  parent  of  Michelangelo  announces
himself  already  to  those  who  can  understand.  There  is  nothing  unusual -
  in  the  figure  of  the  Virgin  in  dark  red  and  dark  blue,  who,  as  she
sits,  half  turns  round  to  hold  with  both  hands  the  child  standing  at  her
feet.  What  is  unusual  is  the  little  group  in  the  background.  For  the
customary  shepherds,  there  stand  four  naked  figures  modelled  in  strong
light  and  shade,  and  showing  that  this,  the  unclothed  frame  and  anatomy
of  men,  is  the  thing  the  painter  cares  for  and  will  have,  wherever  he
can  get  it.’—S.  C.
41.  Gerino  da  Pistoia,  1529.  The  Madonna  and  Child  with  saints,
-on  right,  S.  James,  S.  Cosimo,  and  S.  Mary  Magdalen  ;  on
left,  S.  Catherine,  S.  Louis,  and  S.  Roch.
The  second  door  on  the  left  of  the  gallery  leads  into  The
Tribune,  a  room  originally  built  by  the  Grand  Duke  Ferdinand -
  I.,  to  contain  a  collection  of  precious  stones,  but  now
devoted  to  the  gems  of  painting  and  sculpture.  Of  the
latter  there  are  five  Capi  d'Opere,  viz.  :
1.  Facing  the  Entrance.  The  Venus  de'  Medici—one  of  the  most
perfect  specimens  of  the  art  of  sculpture  existing—found  in
Hadrian’s  Villa  at  Tivoli.  This  statue  cannot  be  understood
in  a  single  visit.
«We  must  return,  and  once  more  give  a  loose
To  the  delighted  spirit—worshipping,
In  her  small  temple  of  rich  workmanship,
Venus  herself,  who,  when  she  left  the  skies,
Came  hither.  —Rogers.