In the centre of the next room is the punctual Hermaphrodite without which no large Continental gallery is complete. But more worthy of attention is the torso of a faun on the left, on a revolving pedestal which (unlike those in the Bargello, as we shall discover) really does revolve and enables you to admire the perfect back. There is also a torso in basalt or porphyry which one should study from all points, and on the walls some wonderful portions of a frieze from the Ara Pacis, erected in Rome, B.C. 139, with wonderful figures of men, women, and children on it. Among the heads is a colossal Alexander, very fine indeed, a beautiful Antoninus, a benign and silly Roman lady in whose existence one can quite believe, and a melancholy Seneca. Look also at Nos. 330 and 332, on the wall: 330, a charming genius, carrying one of Jove's thunderbolts; and 332, a boy who is sheer Luca della Robbia centuries before his birth. I ought to add that, in addition to the various salons in the Uffizi, the long corridors are hung with pictures too, in chronological order, the earliest of all being to the right of the entrance door, and in the corridors there is also some admirable statuary. But the pictures here, although not the equals of those in the rooms, receive far too little attention, while the sculpture receives even less, whether the beutiful full-length athletes or the reliefs on the cisterns, several of which have riotous Dionysian processions. On the stairs, too, are some very beautiful works; while at the top, in the turnstile room, is the original of the boar which Tacca copied in bronze for the Mercato Nuovo, and just outside it are the Medici who were chiefly concerned with the formation of the collection. On the first landing, nearest the ground, is a very beautiful and youthful Bacchus. The ceilings of the Uffizi rooms and corridors also are painted, thoughtfully and dexterously, in the Pompeian manner; but there are limits to the receptive capacity of travellers' eyes, and I must plead guilty to consistently neglecting them. CHAPTER XII "Aërial Fiesole" Andrea del Sarto--Fiesole sights--The Villa Palmieri and the "Decameron"--Botticini's picture in the National Gallery--S. Francesco--The Roman amphitheatre--The Etruscan museum--A sculptor's walk--The Badia di Fiesole--Brunelleschi again--Giovanni di San Giovanni. After all these pictures, how about a little climbing? From so many windows in Florence, along so many streets, from so many loggias and towers, and perhaps, above all, from the Piazzale di Michelangelo, Fiesole is to be seen on her hill, with the beautiful campanile of her church in the dip between the two eminences, that very soon one comes to feel that this surely is the promised land. Florence lies so low, and the delectable mountain is so near and so alluring. But I am not sure that to dream of Fiesole as desirable, and to murmur its beautiful syllables, is not best.