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Chap. XVII. ANDREA DEL SARTO. 581 Vienna. Harrach Gallery. No. 178. Virgin, cliild, Baptist, and S. Joseph, wood, oil, of the decline of the Florentine school. The head of the Virgin repainted. We forbear to weary the reader with other pieces of the same kind. Berlin Museum. Nos. 236—41. Incidents from the legend of S. Anthony of Padua (wood, oil, small), rather Umbrian than Floren tine in stamp, and reminding of the brothers Zaganelli (Cotignola), particularly in respect of colour. Munich. Pinakothek. No. 576. Bust of S. Joseph, life size, on | paper (oil), same as at the Galleria Barberini, equally bold and characteristic, but extensively retouched. No. 548, wood, oil, copy, by a stranger to his school, of Andrea’s Holy Family at the Louvre (No. 438), a very feeble production inferior to that at the Belvedere (No. 3. Fourth room. Ital. School). No. 544. The Virgin sitting on the ground, with the infant Christ and young Baptist. Behind the latter two angels, a piece of a comparatively recent date, very unlike Andrea. Cabinets. Nos. 582. 583. 589. 594, copies in mono chrome from the Scalzo frescos, without the genuine stamp of the master. Schleissheim. No. 1123. Named A. del Sarto, but not by him. Sub ject the Virgin, child, and young Baptist. Dresden. Museum. No. 43. Marriage of S. Catherine, under a conical dais, the curtains of which are held up by angels. This is an example of Andrea imitating Fra Bartolommeo, very rich and sfumato in colour; the figures short and paltry, wood, oil. The monogram is on the border. No. 45. The dead Christ on the lap of the Virgin, by an artist of the close of the sixteenth century. No. 46. Holy Family, falsely inscribed “Andreas Sartus”, by a Vene tian of whom we shall have more to say at a later period. Much restored. Brunswick. Gallery. No. 423. Virgin, child, and young S. John. Half life size, canvass, oil, rough copy, much repainted. The same composition, not catalogued, poor, but better than this of Bruns wick, is on a wall in the staircase leading to the secretary’s office in the Hermitage of S. Petersburg. Stuttgart. Museum. No. 327. Small Holy Family. Imitation. No. 299. So-called portrait of Galeazzo Campi, not by a Florentine, but by a Lombard, one should think. Madrid. Museum. No. 772. The Virgin raises her veil. The child is erect on her lap. An archangel with a book crouches at the step of the Madonna’s seat to the right. S. Joseph sitting on the ground to the left, a fine pyramidal composition in a land scape, in the distance of which S. Elizabeth leads the young Bap-