To the right Giovanna, a young woman in a red-brown dress, wearing a white veil on her golden hair and a necklace of pearls round her neck, advances towards four lovely maidens clad in delicately-tinted robes. She holds in her outstretched hands a white linen cloth into which the four maidens throw flowers symbolic of the Virtues. Fresco painting detached from the wall. 7 ft. 3 in. × 9 ft. 4 in. (2·12 × 2·84.)] The _Madonna and Child and St. John_ (No. 1296), which was formerly put forward by one critic as a “work of Botticelli’s early years, but showing collaboration,” and which is still catalogued as being by the master himself, is now generally recognised as a school picture only. The background is formed by cypresses and rosebushes. The circular panel (No. 1295), which is still credited officially to Sandro, is only a copy of the _Madonna of the Magnificat_ now in the Uffizi at Florence (No. 1267 _Bis_). Authenticity cannot be claimed for the _Fragment of a Predella_ (No. 1300), containing the figures of St. Peter Martyr, the Virgin, St. Elizabeth, Christ and the Magdalene, David, St. Francis, St. Dominic, and St. John the Baptist. The _Scene from the History of Virginia_ (No. 1662A or No. 1662 _Bis_), a cassone front, and the _Portrait of a Young Man_ (No. 1663), which was purchased in 1882 for £600, are catalogued as being by an unknown Florentine painter. These have, however, been included by Mr. Berenson among the numerous pictures painted by the nameless imitator of Botticelli, whom the eminent critic has identified under the significant name of “Amico di Sandro,” _i.e._ “The friend of Sandro Botticelli.” The _Madonna and Child adored by Angels_ (No. 1300A), bequeathed by the Baroness Nathaniel de Rothschild, is regarded by the same high authority as a copy by Jacopo del Sellaio (1442?-1493), a pupil of Fra Filippo Lippi and an imitator of Botticelli, of a lost picture by “Amico di Sandro.” The unbeautiful _Venus_ (No. 1299) from the Cardinal Fesch and Campana collections (which is very similar to a picture (No. 916) in the National Gallery), the _Esther crowned by Ahasuerus_ (No. 1643A), and the _St. Jerome_ (No. 1658), must also be included among the mediocre works of Sellaio. In the same group of Florentine painters is placed Francesco Botticini (1446-1497), who worked under and was influenced by Cosimo Rosselli (1437?-1507); _the Virgin in Glory between the Magdalene and St. Bernard_ (No. 1482) is by Botticini although placed under the name of Rosselli in the Catalogue. Many pictures by Botticini pass in public galleries under the more illustrious name of Botticelli.