rtment of masterpieces is hung from the various schools
we have visited. We begin with the Raphaels: On the L. (W. wall),
1496, La Belle Jardiniere, painted in 1507, is the most delightful of
the Florentine Madonnas for which it is said a flower-girl of Florence
sat; Vasari relates that the unfinished mantle was left to Ridolfo
Ghirlandaio to complete; 1498, The Holy Family, styled of Francis I.
and designed at Rome (1518) in the zenith of the artist's power, was
presented by Pope Leo X. to Francis' queen; the inky hand of Giulio
had no small part in the work. In the same year was painted 1504,
(diagonally opposite) the dramatic St. Michael, a picture which evoked
much interest at Rome, and whose coloration was adversely criticised
by Sebastiano del Piombo; here also the hand of Giulio is all too
apparent, and the picture, moreover, has suffered much in its
transference from wood to canvas. 1505, N. wall, the masterly and
authentic portrait of Baltazar Castiglione, was executed in 1506. On
the same wall among the Venetians we find the much-disputed Al Fresco
Concert, 1136, here ascribed to Giorgione, an ascription which has the
support of Morelli and Berenson. The magnificent Titian, 1590,
variously known as Titian and his Mistress, and the Lady with the
Mirror, is supposed to be the portraits of Duke Alfonso of Ferrara and
his mistress, Laura Diante, later his wife, the daughter of a poor
artizan who more than once sat to Titian as a model. The portrait on
the S. wall, 1592, The Man with the Glove, extolled by Vasari as an
_opera stupenda_, and 1584, The Entombment, on the E. wall, are the
two greatest Titians in the Louvre, where the artist's majesty and
power are displayed in their highest degree. 1583, The Crown of
Thorns, E. wall, is a work of the painter's old age.[210] The sensual
features of Francis I., 1588, S. wall, were painted from a medal.

[Footnote 210: See, however, note to p. 357.]

By Tintoret is 1464, Susannah; and by Veronese, the grand composition
that expatiates over the S. wall, 1192, known as The Marriage at Cana,
executed in his most pompous and stately manner for the refectory of
the Benedictine monastery of St. Giorgio Maggiore at Venice. The
artist is seen in the foreground playing a viol: Titian a bass viol.
Many other historical figures are more or less convincingly identified
by critics. On the opposite wall is another large refectory
composition, 1193, The Supper in the House of Simon th