1344, by Filippo Lippi, next to it, exhibits Filippo’s very rounded faces, both in Madonna and angels. The type is more human. Here, again, we have the Florentine lily borne by the adoring choir, whose position should be compared as a faint lingering reminiscence of that in the Giottesques and the great Cimabue. Observe, at the same time, the division of the painting as a whole into three false compartments, a suggestion from the earlier type of altar-piece. At the Madonna’s feet are two adoring saints, difficult to identify—Florentine and local, probably. Do not fail to gaze close at the characteristic baby cherubs, perhaps Lucrezia’s. This picture should be compared in all its details with earlier pictures of angel choirs. It is a lovely work. Its delicate painting is strongly characteristic. The relief of the faces should be specially noted. The Botticelli next it, 1296, introduces us to the infant St. John of Florence whom we meet again in the _Belle Jardinière_ of Raphael’s Florentine period. Another young St. John close by is full of suggestions of Donatello in the Sculpture Gallery. 493, above the last but one, is a very characteristic Madonna of the Florentine school, closely resembling the type of Botticelli. This once more is a simple Madonna and Child, without accessories. In 1662, the sanctity has almost disappeared and we get scarcely more than a purely human mother and baby. On the opposite side, 4573, is a half-length by Perugino, the affected pose of whose neck and the character of whose face you will now recognise; the Madonna floats in an almond-shaped glory of cherubs, which indicates her ascent to heaven. Several similar subjects exist in sculpture at Cluny. 1540, Lo Spagna, is again a simple half-length Madonna, whose purely Umbrian type recalls both Perugino and the earlier examples. Compare the Peruginos, Raphaels, and Lo Spagnas here, and form from them some conception of the Umbrian ideal. Of the Bellini beside it I have already spoken sufficiently. Observe, here, the absolute nudity of the Child, and the reduction of the angels to sweet little cherub heads among clouds in the background. The graceful arrangement of the attendant saints strikes a Bellini keynote: it was followed in later developments of this subject by Venetian painters. Such half-lengths are common among the School of Bellini. The treatment by Cima, 1259, introducing landscape, and the peculiarly high Venetian throne, is one of a sort also very frequent for full-length Madonnas at Venice and in the Venetian territory. The grouping of the saints, also, is here transitional. Compare it with the exquisite Lorenzo di Credi opposite. On the opposite wall, 1367, by Mainardi, shows us a Florentine face, the St. John of Florence, and the typical sweet-faced Florentine angels, holding lilies; in the background, a view of the city.