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 and departing heaviness; an old man satyr-headed; a kneeling Virgin, recalling to modern eyes the earliest pictures of Mr. Rossetti—a type of clear holiness and grave beauty. Of Francia there is one example, pretty enough if also petty; a Virgin and Child among flowering rose-beds. Of Benozzo Gozzoli there is merely a double group of angels and pilgrims, not of course without interest for those who would follow in any way of work the trace of this Chaucer of painting; but not so full of labour and of life as they might hope, who had seen the cartoon at Pisa for his lost fresco of Solomon and the Queen of Sheba, and felt there as always the fruitful variety and vigour of his sleepless and joyous genius. By Ghirlandajo there is a veiled Virgin of straight and sad profile; by Masolino, a sketch of boys disputing, and a woman with chaplet in hand; by some pseudo-Giotto or Giottino, a Saint Cecilia at a piano-like organ, with a dog roughly sketched—curious and worth a look; by Pesello, a Virgin seated between Christ and St. John, an arm passed round either child; their heads are merely sketched; her face, under a light veil of loose hair, has a look at once pained and smiling. By Pesellino there are some fine studies of single figures, worth notice rather than comment. Of Masaccio there is here less than might be hoped; a few single figures, and one sketch of a crowd, strong but slight, and to which only the name appended draws immediate attention. By Lorenzo di Credi there is an elaborate study of a kneeling saint with huge fan-shaped beard.

In the same room, as elsewhere, are many sketches by hands unknown. Among these are several full of