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 with their fallen fellows. Another careful sketch is that of Dædalus building up the hollow wooden cow for Pasiphae; the strange machine is well-nigh perfect; a whole troop of Loves lend helping hands to the work, sawing wood, whetting steel, doing all manner of carpentry, with light feet and laughing faces full of their mother's mirth.

Of Sodoma, again, there is but one example; it may be that Vasari's well-known and memorable ill-will towards the great Sienese excluded others from his collection, if indeed this one came from thence, It is a beautiful and elaborate drawing, partly coloured; a boy with full wavy curls, crowned with leaves, wearing a red dress banded with gold and black and fringed with speckled fur; the large bright eyes and glad fresh lips animate the beauty of the face; Razzi never painted a fairer, full as his works are of fair forms and faces.

I may here, as well as anywhere else among these disconnected notes, turn to the samples of German work in this collection; to the sketches of Durer, Holbein, and Mabuse, which have found favour in Italian eyes. Two studies of the Passion by Durer are noticeable; in this Christ is bearing the cross, in that sinking under it; the press of the crowd, the fashion of the portcullis, recall the birthplace and the habit of the master. From his hand we have also secular and allegoric sketches; one a design for the famous figure of Fortune; an old man's