There is no doubt whatever, therefore, on the authenticity of this portrait. M. Plon has had it photographed in the original size, and it is impossible to imagine anything more exquisite as a work of art. With reference to the date, it must be assigned between 1568 and 1570, for we know that Benvenuto Cellini died in the beginning of 1571, and about the close of the preceding year he complained of suffering from a severe bronchial attack, which had obliged him to discontinue work for the space of several weeks. M. Plon has taken the opportunity afforded by the portrait to give us a short sketch of the life of Bianca Capello, her first marriage with Pietro Bonaventuri, the romantic adventures which followed upon it, and her subsequent relations with Francesco di Medici. He has added to his interesting memoir two portraits of Bianca: one by Angiolo Bronzino, preserved in the Uffizi Gallery; the other likewise by Angiolo Bronzino, exhibited in that of the Palazzo Pitti. The second part of M. Plon’s supplement or appendix is devoted to an account of several works of art ascribed to Benvenuto Cellini. We first meet with a statue of the god Pluto, belonging to a London _virtuoso_, and which was exhibited at the Burlington Fine Arts Club in 1879. It is supposed to have been cast in the Petit-Nesle foundry, and to have been originally one of the twelve _Dii Majores_ ordered by Francis I., and which were to have been worked in silver as decorations for his festivals. There is nothing to prove that we have here a production of Benvenuto Cellini, but it certainly belongs to the school of Michael Angelo, and if the artist is not Cellini he must be Giovanni di Bologna. The next thing to notice is a large basin of silver-gilt workmanship, belonging to Lord Cowper, and the ewer corresponding to which is described and reproduced in M. Plon’s first volume; it represents a series of scenes from the Old Testament. “The richness and elegance of the compositions,” says our author, “betray the hand of a first-rate artist.” Let us add that both the statue of Pluto previously mentioned and the present basin have found a place amongst the illustrations of the work we are now reviewing. Two other articles of _vertu_ (two cups, or rather their mountings) are also ascribed as probably Cellini’s work, on the authority of M. Alfred Darcel (letter to M. Edmond Bonnaffé, in the _Chronique des Arts et de la Curiosité_, April 14, 1883). We have further to mention two gold jewels intended to be worn on a man’s cap (_nella berretta_), and which were engraved by Cellini’s rival, Caradosso. This naturally leads M. Plon to insert a letter addressed by our artist to Isabella d’Este, Duchess of Mantua, a letter in which he adds further details to those he had already given (see _Benvenuto Cellini_) on Caradosso.