Here are some of the choicest pictures in the collection, including a whole series of Raphael's. Raphael's Madonna del Gran Duca (178)--so called from its modern purchaser, Ferdinand III.--was painted in 1504 or 1505, either before leaving Urbino or shortly after his arrival in Florence; it is the sweetest and most purely devotional of all his Madonnas. Morelli points out that it is strongly reminiscent of Raphael's first master, Timoteo Viti. The portraits of Angelo Doni and Maddalena Doni (61 and 59) also belong to the beginning of Raphael's Florentine epoch, about 1505 or 1506, and show how much he felt the influence of Leonardo; Angelo Doni, it will be remembered, was the parsimonious merchant for whom Michelangelo painted the Madonna of the Tribuna. The Madonna del Baldacchino (165) was commenced by Raphael in 1508, the last picture of his Florentine period, ordered by the Dei for Santo Spirito; it shows the influence of Fra Bartolommeo in its composition, and was left unfinished when Pope Julius summoned the painter to Rome; in its present state, there is hardly anything of Raphael's about it. The beautiful Madonna della Seggiola (151) is a work of Raphael's Roman period, painted in 1513 or 1514. The Vision of Ezekiel (174) is slightly later, painted in 1517 or thereabout, and shows that Raphael had felt the influence of Michelangelo; one of the smallest and most sublime of all his pictures; the landscape is less conventional than we often see in his later works. Neither of the two portraits ascribed to Raphael in this room (171, 158) can any longer be accepted as a genuine work of the master. Andrea del Sarto and Fra Bartolommeo are likewise represented by masterpieces. The Friar's Risen Christ with Four Evangelists (159), beneath whom two beautiful _putti_ hold the orb of the world, was painted in 1516, the year before the painter's death; it is one of the noblest and most divine representations of the Saviour in the whole history of art. Andrea's so-called _Disputa_ (172), in which a group of Saints is discussing the mystery of the Blessed Trinity, painted in 1518, is as superbly coloured as any of the greatest Venetian triumphs; the Magdalene is again the painter's own wife. Perugino's Deposition from the Cross (164), painted in 1495, shows the great Umbrian also at his best. Among the minor pictures in this room may be noted a pretty little trifle of the school of Raphael, so often copied, Apollo and the Muses (167), questionably ascribed to Giulio Romano; and a Nymph pursued by a Satyr (147), supposed by Morelli to be by Giorgione, now assigned to Dosso Dossi of Ferrara. In the _Sala di Giove_.