The treasure of this room is the _Velata_ (245), Raphael's own portrait of the woman that he loved, to whom he wrote his sonnets, and whom he afterwards idealised as the Madonna di San Sisto; her personality remains a mystery. Titian's _Bella_ (18), a rather stolid rejuvenation of Eleonora Gonzaga, is chiefly valuable for its magnificent representation of a wonderful Venetian costume. Here are three works of Andrea del Sarto--the Annunciation (124), the Madonna in Glory, with four Saints (123), and St John the Baptist (272); the first is one of his most beautiful paintings. The picture supposed to represent Andrea and his wife (118) is not by the master himself. Bartolommeo's St Mark (125) was painted by him in 1514, to show that he could do large figures, whereas he had been told that he had a _maniera minuta_; it is not altogether successful. His Deposition from the Cross (64) is one of his latest and most earnest religious works. The Three Fates (113) by Rosso Fiorentino is an undeniably powerful and impressive picture; it was formerly ascribed to Michelangelo. The Three Ages (110), ascribed to Lorenzo Lotto here, was by Morelli attributed to Giorgione, and is now assigned by highly competent critics to a certain Morto da Feltre, of whom little is known save that he is said to have been Giorgione's successful rival for the favours of a ripe Venetian beauty; the picture itself, though injured by restoration, belongs to the same category as the Concert. "In such favourite incidents of Giorgione's school," writes Walter Pater, "music or music-like intervals in our existence, life itself is conceived as a sort of listening--listening to music, to the reading of Bandello's novels, to the sound of water, to time as it flies." In the _Sala di Marte_.