The next room is the audience chamber of the Podestà. Besides the Cross and the Lilies on the windows, its walls and roof are covered with the gold lion on azure ground, the arms of the Duke of Athens. They were cancelled by decree of the Republic in 1343, and renewed in 1861; as a patriotically worded tablet on the left, under the window, explains. Opening out of this is the famous Chapel of the Podestà--famous for the frescoes on its walls--once a prison. From out of these terribly ruined frescoes stands the figure of Dante (stands out, alas, because completely repainted--a mere _rifacimento_ with hardly a trace of the original work left) in what was once a _Paradiso_; the dim figures on either side are said to represent Brunette Latini and either Corso Donati or Guido Cavalcanti. In spite of a very pleasant fable, it is absolutely certain that this is not a contemporaneous portrait of Dante (although it may be regarded as an authentic likeness, to some extent) and was not painted by Giotto; the frescoes were executed by some later follower of Giotto (possibly by Taddeo Gaddi, who painted the lost portraits of Dante and Guido in Santa Croce) after 1345. The two paintings below on either side, Madonna and Child and St. Jerome, are votive pictures commissioned by pious Podestàs in 1490 and 1491, the former by Sebastiano Mainardi, the brother-in-law of Domenico Ghirlandaio. The third room contains small bronze works by Tuscan masters of the Quattrocento. In the centre, Verrocchio's David (22), cast for Lorenzo dei Medici, one of the masterpieces of the fifteenth century. Here are the famous trial plates for the great competition for the second bronze gates of the Baptistery, announced in 1401, the Sacrifice of Abraham, by Brunelleschi and Ghiberti respectively; the grace and harmony of Ghiberti's composition (12) contrast strongly with the force, almost violence, the dramatic action and movement of Brunelleschi's (13). Ghiberti's, unlike his rival's, is in one single piece; but, until lately, there has been a tendency to underrate the excellence of Brunelleschi's relief. Here, too, are Ghiberti's reliquary of St. Hyacinth, executed in 1428, with two beautiful floating Angels (21); several bas-reliefs by Bertoldo, Donatello's pupil and successor; the effigy of Marino Soccino, a lawyer of Siena, by the Sienese sculptor Il Vecchietta (16); and, in a glass case, Orpheus by Bertoldo, Hercules and Antæus by Antonio Pollaiuolo, and Love on a Scallop Shell by Donatello. The following room contains mostly bronzes by later masters, especially Cellini, Giovanni da Bologna, Vincenzo Danti. The most noteworthy of its contents are Daniele Ricciarelli's striking bust of Michelangelo (37); Cellini's bronze sketch for Perseus (38), his bronze bust of Duke Cosimo I. (39), his wax model for Perseus (40), the liberation of Andromeda, from the pedestal of the statue in the Loggia dei Lanzi (42); and