In the next room there are many excellent portraits of this kind, named and unnamed. Of more important works, we should notice the San Giovannino by Antonio Rossellino, and a tondo by the same master representing the Adoration of the Shepherds; Andrea Verrocchio's Madonna and Child; Verrocchio's Lady with the Bouquet (181), with those exquisite hands of which Gabriele D'Annunzio has almost wearied the readers of his _Gioconda_; by Matteo Civitali of Lucca, Faith gazing ecstatically upon the Sacrament. By Mino da Fiesole are a Madonna and Child, and several portrait busts--of the elder Piero dei Medici (234) and his brother Giovanni di Cosimo (236), and of Rinaldo della Luna. We should also notice the statues of Christ and three Apostles, of the school of Andrea Pisano; portrait of a girl by Desiderio da Settignano; two bas-reliefs by Luca della Robbia, representing the Liberation and Crucifixion of St. Peter, early works executed for a chapel in the Duomo; two sixteenth century busts, representing the younger Giuliano dei Medici and Giovanni delle Bande Nere; and, also, a curious fourteenth century group (222) apparently representing the coronation of an emperor by the Pope's legate. In the centre of the room are St. John Baptist by Benedetto da Maiano; Bacchus, by Jacopo Sansovino; and Michelangelo's second David (224), frequently miscalled Apollo, made for Baccio Valori after the siege of Florence, and pathetically different from the gigantic David of his youth, which had been chiselled more than a quarter of a century before, in all the passing glory of the Republican restoration. * * * * *