The two little "Judith" pictures (Nos. 1156 and 1158) were painted for Piero de' Medici and had their place in the Medici palace. In 1494, when Piero di Lorenzo de' Medici was banished from Florence and the palace looted, they were stolen and lost sight of; but during the reign of Francis I they reappeared and were presented to his wife Bianca Capella and once more placed with the Medici treasures. No. 1156, the Judith walking springily along, sword in hand, having slain the tyrant, is one of the masterpieces of paint. Everything about it is radiant, superb, and unforgettable. One other picture which the young painter made for his patron--or in this case his patroness, Lucrezia Tornabuoni, Piero's wife--is the "Madonna of the Magnificat," No. 1267, with its beautiful children and sweet Madonna, its lovely landscape but not too attractive Child. The two boys are Lorenzo, on the left, and Giuliano, in yellow. One of their sisters leans over them. Here the boys are perhaps, in Botticelli's way, typified rather than portrayed. Although this picture came so early in his career Botticelli never excelled its richness, beauty, and depth of feeling, nor its liquid delicacy of treatment. Lucrezia Tornabuoni, for whom he painted it, was a very remarkable woman, not only a good mother to her children and a good wife to Piero, but a poet and exemplar. She survived Piero by thirteen years and her son Giuliano by five. Botticelli painted her portrait, which is now in Berlin. These pictures are the principal work of Botticelli's first period, which coincides with the five years of Piero's rule and the period of mourning for him. He next appears in what many of his admirers find his most fascinating mood, as a joyous allegorist, the picture of Venus rising from the sea in this room, the "Primavera" which we shall see at the Accademia, and the "Mars and Venus" in our National Gallery, belonging to this epoch. But in order to understand them we must again go to history. Piero was succeeded in 1469 by his son Lorenzo the Magnificent, who continued his father's friendship for the young painter, now twenty-two years of age. In 1474 Lorenzo devised for his brother Giuliano a tournament in the Piazza of S. Croce very like that which Piero had given for Lorenzo on the occasion of his betrothal in 1469; and Botticelli was commissioned by Lorenzo to make pictures commemorating the event. Verrocchio again helped with the costumes; Lucrezia Donati again was Queen of the Tournament; but the Queen of Beauty was the sixteen-year-old bride of Marco Vespucci--the lovely Simonetta Cattaneo, a lady greatly beloved by all and a close friend both of Giuliano and Lorenzo.