[47] "Before thee, goddess, flee the winds, the clouds of heaven; before thee and thy advent; for thee earth manifold in works puts forth sweet-smelling flowers; for thee the levels of the sea do laugh and heaven propitiated shines with outspread light" (Munro's _Lucretius_). This was one of the pictures painted for Lorenzo the Magnificent. Botticelli's other picture in this room, the large Coronation of the Madonna (73) with its predella (74), was commissioned by the Arte di Por Sta. Maria, the Guild of Silk-merchants, for an altar in San Marco; the ring of festive Angels, encircling their King and Queen, is in one of the master's most characteristic moods. On either side of the Primavera are two early works by Lippo Lippi; Madonna adoring the Divine Child in a rocky landscape, with the little St. John and an old hermit (79), and the Nativity (82), with Angels and shepherds, Jerome, Magdalene and Hilarion. Other important pictures in this room are Andrea del Sarto's Four Saints (76), one of his latest works painted for the monks of Vallombrosa in 1528; Andrea Verrocchio's Baptism of Christ (71), in which the two Angels were possibly painted by Verrocchio's great pupil, Leonardo, in his youth; Masaccio's Madonna and Child watched over by St. Anne (70), an early and damaged work, the only authentic easel picture of his in Florence. The three small predella pictures (72), the Nativity, the martyrdom of Sts. Cosmas and Damian, St. Anthony of Padua finding a stone in the place of the dead miser's heart, by Francesco Pesellino, 1422-1457, the pupil of Lippo Lippi, are fine examples of a painter who normally only worked on this small scale and whose works are very rare indeed. Francesco Granacci, who painted the Assumption (68), is chiefly interesting as having been Michelangelo's friend and fellow pupil under Ghirlandaio.