The first room contains the works of the earlier masters, from a pseudo-Cimabue (102), to Luca Signorelli, whose Madonna and Child with Archangels and Doctors (164), painted for a church in Cortona, has suffered from restoration. There are four genuine, very tiny pictures by Botticelli (157, 158, 161, 162). The Adoration of the Kings (165), by Gentile da Fabriano, is one of the most delightful old pictures in Florence; Gentile da Fabriano, an Umbrian master who, through Jacopo Bellini, had a considerable influence upon the early Venetian school, settled in Florence in 1422, and finished this picture in the following year for Santa Trinità, near which he kept a much frequented bottega. Michelangelo said that Gentile had a hand similar to his name; and this picture, with its rich and varied poetry, is his masterpiece. The man wearing a turban, seen full face behind the third king, is the painter himself. Kugler remarks: "Fra Angelico and Gentile are like two brothers, both highly gifted by nature, both full of the most refined and amiable feelings; but the one became a monk, the other a knight." The smaller pictures surrounding it are almost equally charming in their way--especially, perhaps, the Flight into Egypt in the predella. The Deposition from the Cross (166), by Fra Angelico, also comes from Santa Trinità, for which it was finished in 1445; originally one of Angelico's masterpieces, it has been badly repainted; the saints in the frame are extremely beautiful, especially a most wonderful St. Michael at the top, on our left; the man standing on the ladder, wearing a black hood, is the architect, Michelozzo, who was the Friar's friend, and may be recognised in several of his paintings. The lunettes in the three Gothic arches above Angelico's picture, and which, perhaps, did not originally belong to it, are by the Camaldolese Don Lorenzo, by whom are also the Annunciation with four Saints (143), and the three predella scenes (144, 145, 146). Of the earlier pictures, the Madonna and Child adored by Angels (103) is now believed to be the only authentic easel picture of Giotto's that remains to us--though this is, possibly, an excess of scepticism. Besides several works ascribed to Taddeo Gaddi and his son Agnolo, by the former of whom are probably the small panels from Santa Croce, formerly attributed to Giotto, we should notice the Pietà by Giovanni da Milano (131); the Presentation in the Temple by Ambrogio Lorenzetti (134), signed and dated 1342; and a large altarpiece ascribed to Pietro Cavallini (157). The so-called Marriage of Boccaccio Adimari with Lisa Ricasoli (147) is an odd picture of the social customs of old Florence.