On the opposite wall are four Botticellian pictures. The Magnificat (1267 _bis_)--Sandro's most famous and familiar tondo--in which the Madonna rather sadly writes the Magnificat, while Angels cluster round to crown their Queen, to offer ink and book, or look into the thing that she has written, while the Dove hovers above her, is full of the haunting charm, the elusive mystery, the vague yearning, which makes the fascination of Botticelli to-day. She already seems to be anticipating the Passion of that Child--so unmistakably divine--who is guiding her hand. The Madonna of the Pomegranate (1289) is a somewhat similar, but less beautiful tondo; the Angel faces, who are said to be idealised portraits of the Medicean children, have partially lost their angelic look. The Fortitude (1299) is one of Sandro's earliest paintings, and its authenticity has been questioned; she seems to be dreading, almost shrinking from some great battle at hand, of which no man can foretell the end. The Annunciation (1316) is rather Botticellian in conception; but the colouring and execution generally do not suggest the master himself. Antonio Pollaiuolo's Prudence (1306) is a harsh companion to Sandro's Fortitude. The tondo (1291) of the Holy Family, by Luca Signorelli, is one of his best works in this kind; the colouring is less heavy than is usual with him, and the Child is more divine. Of the two carefully finished Annunciations by Lorenzo di Credi (1314, 1160), the latter is the earlier and finer. Fra Filippo's little Madonna of the Sea (1307), with her happy boy-like Angel attendants, is one of the monk's most attractive and characteristic works; perhaps the best of all his smaller pictures. And we have left to the last Fra Angelico's divinest dream of the Coronation of the Madonna in the Empyrean Heaven of Heavens (1290), amidst exultant throngs of Saints and Angels absorbed in the Beatific Vision of Paradise. It is the pictorial equivalent of Bernard's most ardent sermons on the Assumption of Mary and of the mystic musings of John of Damascus. Here are "the Angel choirs of Angelico, with the flames on their white foreheads waving brighter as they move, and the sparkles streaming from their purple wings like the glitter of many suns upon a sounding sea, listening in the pauses of alternate song, for the prolonging of the trumpet blast, and the answering of psaltery and cymbal, throughout the endless deep, and from all the star shores of heaven."[31] [31] _Modern Painters_, vol. ii. SALA DI MAESTRI DIVERSI ITALIANI.