In person, Francesco Maria was handsome, and, from being puny and stunted in childhood, grew up active and graceful, but with a complexion of almost effeminate beauty. He was, therefore, fortunate in having for his court painter one whose men and women, as Sir Joshua Reynolds has happily remarked, seem nourished by roses. Although it is improbable that Baroccio executed the swaddled effigy of him in the Pitti Gallery, there can be little question that the four portraits we shall now mention are by that artist. One of these, in the Tribune of the Uffizi at Florence, with a repetition of equal merit in Baron Camuccini's choice collection at Rome, represents to perfection a strikingly elegant youth in the gorgeous uniform worn on his naval expedition in 1571.[*121] There is in my possession a half-length, with one of Ambrogio Baroccio's curious timepieces upon the table, which came from the Durazzo Gallery at Genoa; and the head introduced above, at p. 151, done in full manhood, when the cares of sovereignty had begun to furrow his features with "lines of anxious thought," was purchased by me at Pesaro, in 1843. In the Antaldi Palace there, I saw a head of this Duke ascribed to Baroccio, but evidently done some years after his death. It is a slight sketch, thrown off at a sitting, and painfully preserving features whereon age and sickness, sorrow and anxiety, have set their seal. Portraiture can show no contrast more startling than that time-worn figure, with glassy eye and ghastly visage, offers to the glowing cheek and gallant bearing of the richly accoutred hero of Lepanto. But still more melancholy the change that had come over the man, then gladsome in youthful beauty, rising fame, and chivalrous hope, burning to enjoy the advantages of high station, to maintain and transmit the respect and popularity of a long-honoured name. [Footnote *121: No longer in the Tribuna, but in the Sala di Baroccio. It is the painter's masterpiece [Cat. No. 1119].]