From Cosimo Rosselli we naturally pass to his pupil Piero di Cosimo (1462-1521), who derived great pleasure from the painting of such scenes from classic fable as enabled him to depict grotesque monsters, strange animals, and fantastic costume. At first sight it might be assumed that the _Nuptials of Thetis and Peleus_ (No. 1416A and No. 1416B) were from his brush; but although these two panels pass under his name in the Catalogue, they are, as we have seen, by “Alunno di Domenico.” Piero is represented in the Louvre exclusively by religious pictures, the most imposing of which is the _Coronation of the Virgin, with St. Jerome, St. Francis, St. Bonaventura, and St. Louis of Toulouse_ (No. 1416). An unpleasing _Madonna_ (No. 1662) has long ago been assigned to Piero di Cosimo, who is also the author of a _St. John the Baptist as a Child_ (No. 1274), which is labelled with the name of Uccello. The two last pictures hang in the Long Gallery on either side of the door leading into Room VII. The authorities catalogue as the work of Raffaelino del Garbo (1466-1524) the large _Coronation of the Virgin, with St. Benedict, St. Salvi, St. John Gualberto, and St. Bernard degli Uberti_ (No. 1303), which is in reality the centre part of a large altarpiece by Raffaelle dei Carli (1470-1526?), who worked with Garbo and his group. The great French Museum does not possess one of the only three easel paintings which are now assigned by the safest critics to Michelangelo (1475-1564), who as a painter is best known for his fresco paintings in Rome. This collection is, however, fortunate enough to own the two sculptures of the _Slaves_, represented as fettered and overcome by grief at the death of Pope Julius II., for whose tomb they were intended. ALBERTINELLI By the end of the fifteenth century, Florence had become the æsthetic capital of Italy, and painters innumerable were plying their trade within her walls. As they worked in close contact and unconsciously reflected the influences which beset them on every side, it becomes increasingly difficult to assign to any given artist the execution of certain works. The task becomes even more difficult, and indeed thankless, when one is brought face to face with such a composite picture as the _Madonna and Child, St. Jerome and St. Zenobius_ (No. 1114), which is officially ascribed to Albertinelli (1474-1515). The leading authority on Italian art has given it as his opinion that this large canvas, which is inscribed: MARIOCTI DEBERTINELLIS OPUS Ā. D̄. M̊. DVI,