Higher up, 1664, another Madonna and Child, Enthroned, with similar angels, but with the addition of the figure of St Catherine of Alexandria, on whose finger the Christ is placing a ring. This is an early intermediate type of the Marriage of St. Catherine, hardly yet characterized. Most of these Madonnas have the characteristic softness and peculiar cast of countenance of the early School of Siena. 1279, Gentile da Fabriano, is almost a simple Madonna and Child, but for the addition of the smaller donor, Pandolfo Malatesta, Lord of Rimini. This picture shows the bland and round-faced Umbrian type which is closely allied to that of Siena. Both Schools are remarkable for the fervent pietism which blossomed out in full in St. Francis of Assisi and St. Catherine of Siena. In the beautiful Perugino above, 1564, note the complete transformation in the later Umbrian school of the adoring angels into a graceful pair, and the beginning of an attempt to group in comparatively natural attitudes the accompanying saints, Rose and Catherine. This feature is still more marked in 1565, also Perugino, (but later) where the Baptist and St. Catherine, well composed, are thrown into the background behind the Madonna. Observe that while earlier piety drapes the Child, in Gentile and still more in Perugino, the growing love for the nude begins to exhibit itself. A study of haloes is also interesting. On the opposite or R side, 1315 is a good example of the simple Enthroned Madonna of the School of Giotto. Compare it with that next it, 1316, where the angels are grouped with some attempt at composition. 1397, by Neri di Bicci, is also a characteristic half-length simple Madonna, with the Child still draped after the earlier fashion affected by this belated follower of Giottesque models. 1345, beneath it, by Filippo Lippi or his school, shows a characteristic type of features which this painter introduced,—a modification of the older Florentine ideal: the face is said to be that of his model Lucrezia Buti, the nun with whom he eloped and whom he was finally permitted to marry. The angels in the background show well the rapid advance in the treatment of these accessories. Observe, as you pass, their Florentine lilies. Their features are like those of the Medici children, as seen in numerous works at Florence. In 1295, by Botticelli, we get that individual painter’s peculiar mystical and somewhat languid type, while the angels are again like Medici portraits. Study these Botticellis for his artistic personality.