At the end of the corridor, by Baccio Bandinelli's copy of the Laocoön, are three rooms containing the drawings and sketches of the Old Masters. It would take a book as long as the present to deal adequately with them. Many of the Florentine painters, who were always better draughtsmen than they were colourists, are seen to much greater advantage in their drawings than in their finished pictures. Besides a most rich collection of the early men and their successors, from Angelico to Bartolommeo, there are here several of Raphael's cartoons for Madonnas and two for his St. George and the Dragon; many of the most famous and characteristic drawings of Leonardo da Vinci (and it is from his drawings alone that we can now get any real notion of this "Magician of the Renaissance"); and some important specimens of Michelangelo. Here, too, is Andrea Mantegna's terrible Judith, conceived in the spirit of some Roman heroine, which once belonged to Vasari and was highly valued by him. It is dated 1491, and should be compared with Botticelli's rendering of the same theme. CHAPTER VI _Or San Michele and the Sesto di San Piero_ "Una figura della Donna mia s'adora, Guido, a San Michele in Orto, che di bella sembianza, onesta e pia, de' peccatori è gran rifugio e porto." (_Guido Cavalcanti_ to _Guido Orlandi_.) At the end of the bustling noisy Via Calzaioli, the Street of the Stocking-makers, rises the Oratory of Our Lady, known as San Michele in Orto, "St. Michael in the Garden." Around its outer walls, enshrined in little temples of their own, stand great statues of saints in marble and bronze by the hands of the greatest sculptors of Florence--the canonised patrons of the Arts or Guilds, keeping guard over the thronging crowds that pass below. This is the grand monument of the wealth and taste, devotion and charity, of the commercial democracy of the Middle Ages. [Illustration: ORCAGNA'S TABERNACLE, OR SAN MICHELE]