nd the Mother and Child diffusing happy
sweetness, which, if only it were a little less painty, would be one
of the chief magnets of the gallery.

Hereabout are many Botticelli school pictures, chief of these the
curious girl, called foolishly "La Bella Simonetta," which Mr. Berenson
attributes to that unknown disciple of Botticelli to whom he has given
the charming name of Amico di Sandro. This study in browns, yellow,
and grey always has its public. Other popular Botticelli derivatives
are Nos. 348 and 357. Look also at the sly and curious woman (No. 102),
near the window, by Ubertini, a new artist here; and the pretty Jacopo
del Sellaio, No. 364; a finely drawn S. Sebastian by Pollaiuolo;
the Holy Family by Jacopo di Boateri, No. 362, with very pleasant
colouring; No. 140, the "Incognita," which people used to think was
by Leonardo--for some reason difficult to understand except on the
principle of making the wish father to the thought--and is now given
to Bugiardini; and lastly a rich and comely example of Lombardy art,
No. 299.

From this room we will enter first the Corridio delle Colonne where
Cardinal Leopoldo de' Medici's miniature portraits are hung, all
remarkable and some superb, but unfortunately not named, together
with a few larger works, all very interesting. That Young Goldsmith,
No. 207, which used to be given to Leonardo but is now Ridolfo
Ghirlandaio's, is here; a Franciabigio, No. 43; a questioned Raphael,
No. 44; a fine and sensitive head of one of the Gonzaga family by
Mantegna, No. 375; the coarse head of Giovanni Bentivoglio by da
Costa, No. 376; and a Pollaiuolo, No. 370, S. Jerome, whose fine rapt
countenance is beautifully drawn.

In the Sala della Giustizia we come again to the Venetians: a noble
Piombo, No. 409; the fine Aretino and Tommaso Mosti by Titian;
Tintoretto's portrait of a man, No. 410; and two good Moronis. But
I am not sure that Dosso Dossi's "Nymph and Satyr" on the easel is
not the most remarkable achievement here. I do not, however, care
greatly for it.

In the Sala di Flora we find some interesting Andreas; a beautiful
portrait by Puligo, No. 184; and Giulio Romano's famous frieze of
dancers. Also a fine portrait by Allori, No. 72. The end room of all
is notable for a Ruysdael.

Finally there is the Sala del Poccetti, out of the Sala di Prometeo,
which, together with the preceding two rooms that I have described,
has lately been rearranged. Here now is the hard but m