An event rare in the history of public galleries took place in 1813, when the Louvre received Carpaccio’s _Preaching of St. Stephen_ (No. 1211), Boltraffio’s _Madonna of the Casio Family_ (No. 1169), Marco d’Oggiono’s _Holy Family_ (No. 1382), Moretto’s _St. Bernardino of Siena and St. Louis of Toulouse_ (No. 1175), and the same artist’s _St. Bonaventura and St. Anthony of Padua_ (No. 1176), in exchange for five pictures by Rubens, Rembrandt, Van Dyck, and Jordaens. It is curious to notice that at this period very little importance was attached to Italian primitives, which were, indeed, deemed “barbarous.” Many beautiful works of the very early Italian schools were actually not considered worth the trouble and expense of transport, and were therefore left for the lasting glory of the Louvre. Among them may be mentioned Fra Angelico’s _Coronation of the Virgin_ (No. 1290); the _Madonna and Child and Two Saints_, (No. 1114), now officially ascribed to Albertinelli; Bronzino’s _Christ and the Magdalene_ (No. 1183); the _Madonna and Angels_ (No. 1260), which passes under the name of Cimabue; Gentile da Fabriano’s _Presentation in the Temple_ (No. 1278); the _Coronation of the Virgin_ (No. 1303), still officially ascribed to Raffaellino del Garbo; _St. Francis of Assisi receiving the Stigmata_ (No. 1312), which still passes under the name of Giotto; Benozzo Gozzoli’s _Triumph of St. Thomas Aquinas_ (No. 1319); Fra Filippo Lippi’s _Madonna and Child between Two Saints_ (No. 1344); Pesellino’s two small predella pictures (No. 1414); Piero di Cosimo’s _Coronation of the Virgin_ (No. 1416); _The Madonna in Glory between St. Bernard and St. Mary Magdalene_ (No. 1482), which is still assigned to Cosimo Rosselli; Lorenzo di Credi’s _Madonna and Child with St. Julian and St. Nicholas_ (No. 1263); Cima’s _Madonna and Child_ (No. 1259); Vasari’s _Annunciation_ (No. 1575), which is now in one of the storerooms of the Louvre; the Ferrarese _Madonna and Child with St. Quentin and St. Benedict_ (No. 1167), which is still assigned to Bianchi; Andrea Mantegna’s _Calvary_ (No. 1373) and _Virgin of Victory_ (No. 1374); Domenico Ghirlandaio’s _Visitation_ (No. 1321); and Perugino’s _St. Paul_ (No. 1566). Further proof of the slight regard in which certain pictures that we cherish to-day were then held is afforded by the readiness with which the authorities sent two panels of Mantegna’s altarpiece, the centre-part of which is now in the Church of San Zeno at Verona, to the Museum at Tours, and parted with Perugino’s altarpieces to the public galleries of Lyons and Marseilles.