The highly technical skill and mellow colouring of Andrea del Sarto (1486-1531) have long been known in France, where he was invited by François I. For that monarch he executed the _Charity_ (No. 1514), which, having been transferred from panel to canvas by Picault in 1750 when the process was little understood, suffered accordingly. In its present state we can get little idea of the former brilliance of the picture which secured to the “faultily faultless painter” in 1518—the year he arrived in France—a very considerable income. It is inscribed: ANDREAS SARTUS FLORENTINTUS ME PINXIT MDXVIII. A _Holy Family_ (No 1515), by the same facile painter, has been said by some to portray in the features of the Virgin those of his own infamous wife Lucrezia del Fede. It has been enlarged, and has suffered in the operation. Less authentic are the _Holy Family_ (No. 1516), which is said to bear the inscription: ANDREA DEL SARTO FLORENTINO FACIEBAT followed by a monogram, and a lunette of the _Annunciation_ (No. 1517). The _Portrait of Andrea Fausti_, which is given in the Catalogue under the name of Sarto, and described as being the work of a pupil, is held by some critics to have been painted by Franciabigio (1482-1525), who came under the influence of Andrea. The insignificant _Portrait of a Young Man_ (No. 1506), which since 1709 has passed under the quite fictitious title of the _Portrait of Raphael_, and is indeed still catalogued under his name, is an ill drawn and badly coloured production. It seems to issue from the influences we have just outlined. Morelli regarded it as the work of Bacchiacca (1494-1557), who churned up reminiscences of Andrea del Sarto, Franciabigio, and Perugino. Mr. Berenson has tentatively assigned it to Sogliani, who imitated Albertinelli and many other Florentines. An unattributed Florentine _Portrait of a Young Man_ (No. 1644), which has been enlarged about three inches all round, had at one time or another been ascribed without much discrimination to Raphael, Giorgione, Sebastiano del Piombo, Francesco Francia, Ridolfo Ghirlandaio, and Franciabigio! It is apparently from the hand of Giuliano Bugiardini (1475-1554), a mediocre artist who endeavoured to appropriate all the conflicting influences that he came under. It has long been hung to the left of Raphael’s _La Belle Jardinière_.