This Simone was a pupil of Giotto and the painter of a portrait of Petrarch's Laura, now preserved in the Laurentian library, which earned him two sonnets of eulogy. It is also two Sienese painters who have made the gayest thing in this room, the predella, No. 1304, by Neroccio di Siena (1447-1500) and Francesco di Giorgio di Siena (1439-1502), containing scenes in the life of S. Benedetto. Neroccio did the landscape and figures; the other the architecture, and very fine it is. Another delightful predella is that by Benozzo Gozzoli (1420-1498), Fra Angelico's pupil, whom we have seen at the Riccardi palace. Gozzoli's predella is No. 1302. Finally, look at No. 64, which shows how prettily certain imitators of Fra Angelico could paint. After the Sala di Lorenzo Monaco let us enter the first Tuscan room. The draughtsmanship of the great Last Judgment fresco by Fra Bartolommeo (1475-1517) and Mariotto Albertinelli (1474-1515) is very fine. It is now a ruin, but enough remains to show that it must have been impressive. These collaborators, although intimate friends, ultimately went different ways, for Fra Bartolommeo came under the influence of Savonarola, burned his nude drawings, and entered the Convent of S. Marco; whereas Albertinelli, who was a convivial follower of Venus, tiring of art and even more of art jargon, took an inn outside the S. Gallo gate and a tavern on the Ponte Vecchio, remarking that he had found a way of life that needed no knowledge of muscles, foreshortening, or perspective, and better still, was without critics. Among his pupils was Franciabigio, whose lovely Madonna of the Well we are coming to in the Tribuna. Chief among the other pictures are two by the delightful Alessio Baldovinetti, the master of Domenico Ghirlandaio, Nos. 60 and 56; and a large early altar-piece by the brothers Orcagna, painted in 1367 for S. Maria Nuova, now the principal hospital of Florence and once the home of many beautiful pictures. This work is rather dingy now, but it is interesting as coming in part from the hand that designed the tabernacle in Or San Michele and the Loggia de' Lanzi. Another less-known painter represented here is Francesco Granacci (1469-1543), the author of Nos. 1541 and 1280, both rich and warm and pleasing. Granacci was a fellow-pupil of Michelangelo both in Lorenzo de' Medici's garden and in Ghirlandaio's workshop, and the bosom friend of that great man all his life. Like Piero di Cosimo, Granacci was a great hand at pageantry, and Lorenzo de' Medici kept him busy. He was not dependent upon art for his living, but painted for love of it, and Vasari makes him a very agreeable man.