The Sala seconda del Botticelli contains three pictures ascribed to the master, but only one is authentic–the Madonna and Child enthroned with six Saints, while Angels raise the curtain over her throne or hold up emblems of the Passion (85); it is inscribed with Dante's line–
"Vergine Madre, Figlia del tuo Figlio."
The familiar Three Archangels (84), though attributed to Sandro, is not even a work of his school. There is a charming little predella picture by Fra Filippo (86), representing a miracle of San Frediano, St. Michael announcing her death to the Blessed Virgin, and a friar contemplating the mystery of the Blessed Trinity–pierced by the "three arrows of the three stringed bow," to adopt Dante's phrase. The Deposition from the Cross (98), was commenced by Filippino Lippi for the Annunziata, and finished after his death in 1504 by Perugino, who added the group of Maries with the Magdalene and the figure on our right. The Vision of St. Bernard (97), by Fra Bartolommeo, is the first picture that the Friar undertook on resuming his brush, after Raphael's visit to Florence had stirred him up to new efforts; commenced in 1506, it was left unfinished, and has been injured by renovations. Here are two excellent paintings by Lorenzo di Credi (92 and 94), the former, the Adoration of the Shepherds, being his very best and most perfectly finished work. High up are two figures in niches by Filippino Lippi, the Baptist and the Magdalene (93 and 89), hardly pleasing. The Resurrection (90), by Raffaellino del Garbo, is the only authentic work in Florence of a pupil of Filippino's, who gave great promise which was never fulfilled.
At the end of the hall are three Sale dei Maestri Toscani, from the earliest Primitives down to the eighteenth century. Only a few need concern us much.
The first room contains the works of the earlier masters, from a pseudo-Cimabue (102), to Luca Signorelli, whose Madonna and Child with Archangels and Doctors (164), painted for a church in Cortona, has suffered from restoration. There are four genuine, very tiny pictures by Botticelli (157, 158, 161, 162). The Adoration of the Kings (165), by Gentile da Fabriano, is one of the most delightful old pictures in Florence; Gentile da Fabriano, an Umbrian master who, through Jacopo Bellini, had a considerable influence upon the early Venetian school, settled in Florence in 1422, and finished this picture in the following year for Santa Trinità, near which he kept a much frequented bottega. Michelangelo said that Gentile had a hand similar to his name; and this picture, with its rich and varied poetry, is his masterpiece. The man wearing a turban, seen full face behind the third king, is the painter himself. Kugler remarks: "Fra Angelico and Gentile are like two brothers, both highly gifted by nature, both full of the most refined and amiable feelings; but the one became a monk, the other a knight." The smaller pictures surrounding it are almost equally charming in their way–especially, perhaps, the Flight into Egypt in the predella. The Deposition from the Cross (166), by Fra Angelico, also comes from Santa Trinità, for which it was finished in 1445; originally one of Angelico's masterpieces, it has been badly repainted; the saints in the frame are extremely beautiful, especially a most wonderful St. Michael at the top, on our left; the man standing on the ladder, wearing a black hood, is the architect, Michelozzo, who was the Friar's friend, and may be recognised in several of his paintings. The lunettes in the three Gothic arches above Angelico's picture, and which, perhaps, did not originally belong to it, are by the Camaldolese Don Lorenzo, by whom are also the Annunciation with four Saints (143), and the three predella scenes (144, 145, 146).
Of the earlier pictures, the Madonna and Child adored by Angels (103) is now believed to be the only authentic easel picture of Giotto's that remains to us–though this is, possibly, an excess of scepticism. Besides several works ascribed to Taddeo Gaddi and his son Agnolo, by the former of whom are probably the small panels from Santa Croce, formerly attributed to Giotto, we should notice the Pietà by Giovanni da Milano (131); the Presentation in the Temple by Ambrogio Lorenzetti (134), signed and dated 1342; and a large altarpiece ascribed to Pietro Cavallini (157). The so-called Marriage of Boccaccio Adimari with Lisa Ricasoli (147) is an odd picture of the social customs of old Florence.
In the second room are chiefly works by Fra Bartolommeo and Mariotto Albertinelli. By the Frate, are the series of heads of Christ and Saints (168), excepting the Baptist on the right; they are frescoes taken from San Marco, excepting the Christ on the left, inscribed "Orate pro pictore 1514," which is in oil on canvas. Also by him are the two frescoes of Madonna and Child (171, 173), and the splendid portrait of Savonarola in the character of St. Peter Martyr (172), the great religious persecutor of the Middle Ages, to whom Fra Girolamo had a special devotion. By Albertinelli, are the Madonna and Saints (167), and the Annunciation (169), signed and dated 1510. This room also contains several pictures by Fra Paolino da Pistoia and the Dominican nun, Plautilla Nelli, two pious but insipid artists, who inherited Fra Bartolommeo's drawings and tried to carry on his traditions. On a stand in the middle of the room, is Domenico Ghirlandaio's Adoration of the Shepherds (195), from Santa Trinità, a splendid work with–as Vasari puts it–"certain heads of shepherds which are held a divine thing."
On the walls of the third room are later pictures of no importance or significance. But in the middle of the room is another masterpiece by Ghirlandaio (66); the Madonna and Child with two Angels, Thomas Aquinas and Dionysius standing on either side of the throne, Dominic and Clement kneeling. It is seldom, indeed, that this prosaic painter succeeded in creating such a thinker as this Thomas, such a mystic as this Dionysius; in the head of the latter we see indeed the image of the man who, according to the pleasant mediæval fable eternalised by Dante, "in the flesh below, saw deepest into the Angelic nature and its ministry."
In the Via Cavour, beyond San Marco, is the Chiostro dello Scalzo, a cloister belonging to a brotherhood dedicated to St. John, which was suppressed in the eighteenth century. Here are a series of frescoes painted in grisaille by Andrea del Sarto and his partner, Francia Bigio, representing scenes from the life of the Precursor, with allegorical figures of the Virtues. The Baptism of Christ is the earliest, and was painted by the two artists in collaboration, in 1509 or 1510. After some work for the Servites, which we shall see presently, Andrea returned to this cloister; and painted, from 1515 to 1517, the Justice, St. John preaching, St. John baptising the people, and his imprisonment. Some of the figures in these frescoes show the influence of Albert Dürer's engravings. Towards the end of 1518, Andrea went off to France to work for King Francis I.; and, while he was away, Francia Bigio painted St. John leaving his parents, and St. John's first meeting with Christ. On Andrea's return, he set to work here again and painted, at intervals from 1520 to 1526, Charity, Faith and Hope, the dance of the daughter of Herodias, the decollation of St. John, and the presentation of his head, the Angel appearing to Zacharias, the Visitation, and, last of all, the Birth of the Baptist. The Charity is Andrea's own wife, Lucrezia, who at this very time, if Vasari's story is true, was persuading him to break his promise to the French King and to squander the money which had been intrusted to him for the purchase of works of art.