[30] See the Genealogical Table in Appendix. The elder Pier Francesco was dead many years before this picture was painted. It was for his other son, Lorenzo, that Sandro Botticelli drew his illustrations of the _Divina Commedia_. Granacci's Madonna of the Girdle (1280), over the door, formerly in San Piero Maggiore, is a good example of a painter who imitated most of his contemporaries and had little individuality. On easels in the middle of the room are (3452) Venus, by Lorenzo di Credi, a conscientious attempt to follow the fashion of the age and handle a subject quite alien to his natural sympathies--for Lorenzo di Credi was one of those who sacrificed their studies of the nude on Savonarola's pyre of the Vanities; and (3436) an Adoration of the Magi, a cartoon of Sandro Botticelli's, coloured by a later hand, marvellously full of life in movement, intense and passionate, in which--as though the painter anticipated the Reformation--the followers of the Magi are fighting furiously with each other in their desire to find the right way to the Stable of Bethlehem! The third room of the Tuscan School contains some of the truest masterpieces of the whole collection. The Epiphany, by Domenico Ghirlandaio (1295), painted in 1487, is one of that prosaic master's best easel pictures. The wonderful Annunciation (1288), in which the Archangel has alighted upon the flowers in the silence of an Italian twilight, with a mystical landscape of mountains and rivers, and far-off cities in the background, may possibly be an early work of Leonardo da Vinci, to whom it is officially assigned, but is ascribed by contemporary critics to Leonardo's master, Andrea Verrocchio. The least satisfactory passage is the rather wooden face and inappropriate action of the Madonna; Leonardo would surely not have made her, on receiving the angelic salutation, put her finger into her book to keep the place. After Three Saints by one of the Pollaiuoli (1301) and two smaller pictures by Lorenzo di Credi (1311 and 1313), we come to Piero della Francesca's grand portraits of Federigo of Montefeltro, Duke of Urbino, and his wife, Battista Sforza (1300); on the reverse, the Duke and Duchess are seen in triumphal cars surrounded with allegorical pageantry. Federigo is always, as here, represented in profile, because he lost his right eye and had the bridge of his nose broken in a tournament. The three predella scenes (1298) are characteristic examples of the minor works of Piero's great pupil, Luca Signorelli of Cortona.