d to the master and
bought for the sum of 207,000 francs in 1875! We now enter the long

GRANDE GALERIE, ROOM VI.

and begin with Section A. On the R. is 1565, Holy Family, by Perugino.
1567, Combat of Love and Chastity, by the same, was painted in 1505 to
the elaborate specification of the enthusiastic and acquisitive patron
of the renaissance, Isabella d'Este, Marchioness of Mantua, for her
famous "Grotta." The artist's slovenly execution of the work brought
him a well-deserved rebuke from the Marchioness. 1261, by Lorenzo
Costa, a flattering symbolic representation of the Court at Mantua was
also painted for her. Isabella, to whom a Cupid hands a laurel crown,
is seen standing near a grove of trees, surrounded by poets and
philosophers.

[Footnote 203: For further details, we may refer the reader to Vernon
Lee's essay: "Botticelli at the Villa Lemmi," _Juvenilia_ I.]

[Footnote 204: "It cannot be proved that a single picture attributed
to Cimabue was painted by him." Editorial Note to new edition of
_Crowe and Cavalcaselle_, I., p. 181.]

[Footnote 205: Crowe and Cavalcaselle, however, assign the work to
Pesellino, who is represented in this room by two small pictures, 1414
and 1415, on the wall.]

Among the Francias we distinguish, 1436, a Crucifixion; 1556 is a
Pieta by Cosimo Tura in the characteristic hard manner of the
Ferrarese master, being the upper portion of the central altar-piece,
Virgin and Child Enthroned, in the National Gallery; 1417, Virgin and
Child with two Saints, is a doubtful Pinturicchio; 1114, Virgin and
Child between SS. Jerome and Zanobi is a good example of
Albertinelli's pleasing but somewhat characterless style; 1516 and
1516A are two Andrea del Sartos; 1264 is another Lorenzo di Credi:
Christ and the Magdalen. Last of all we note 1418, a rather inky
Nativity, in the grand and broad-manner of the later Roman School by
Giulio Romano, much admired by Vasari.

We return to the L. wall and note 1526, Signorelli's Adoration of the
Magi; further on are 1154, an excellent Fra Bartolomeo, The Holy
Family, and 1153, The Annunciation, a graceful and suave composition,
original in treatment, by the same master. We pass to some more Andrea
del Sartos: 1515, according to Vasari, a _Nostra Donna bellissima_,
was painted in quick time for Francis I., and 1514, Charity, was
executed in Paris for the _gran re_ and highly esteemed by him. This
picture has much suffered by transference from the wor