The Pharisee, hoping to entrap Jesus into sedition, asks him whether it is lawful to give tribute unto Cæsar. "Show me _the tribute money_" is the answer. "Whose is this image and superscription?... Render unto Cæsar the things that are Cæsar's, and unto God the things that are God's." Titian's great picture of this subject (painted about 1514) is at Dresden. 225. BEATIFIC VISION OF THE MAGDALEN. _Giulio Romano_ (Roman: 1498-1546). _See_ 624. A semicircular fresco (formerly in the church of the Trinita de' Monti, Rome), showing the Magdalen borne upwards by angels to witness the joys of the blessed. 226. VIRGIN AND CHILD, WITH ST. JOHN AND ANGELS. _School of Botticelli_ (1447-1510). _See_ 1034. This is a copy of a picture by Botticelli in the Rospigliosi Palace at Rome. In the background is a hedge of roses, Botticelli's favourite flower. "No man has ever yet drawn, and none is likely to draw for many a day, roses as well as Sandro has drawn them" (_Fors Clavigera_, 1872, xii. 2). And he painted them, just as he painted his Madonnas, from life, and from everyday life--for even as late as forty years ago, Florence was "yet encircled by a wilderness of wild rose." It should be noticed, further, that there was a constant Biblical reference in the flowers which the painters consecrated to their Madonnas--especially the rose, the emblem of love and beauty. The background in Madonna pictures is frequently, as here, a piece of garden trellis: "a garden enclosed is my sister, my spouse" (Song of Solomon, iv. 12). 227. ST. JEROME IN THE DESERT. _Florentine School_ (15th century). _See also_ (p. xix) Kneeling below are Girolamo Rucellai and his son. The arms of the Rucellai family are at each end of the _predella_. The picture was originally an altar-piece in the Rucellai Chapel in the church of the Eremiti di San Girolamo at Fiesole. Formerly ascribed to Cosimo Rosselli, the picture is now conjecturally attributed to Botticini (for whom see under 1126).