Sala Verde, at the top of the staircase, contains pictures of the sixteenth and seventeenth centuries; two bas-reliefs (100-101) of the Adoration of the Magi, and St. Giuliano Killing his Parents, German work of the sixteenth century; landscapes by Guardi, Canaletto and Zucarelli; Joshua stopping the Sun in its Course (111), and other paintings by Tiepolo; and a beautiful Flemish tapestry (1201) of the early fifteenth century—the Queen of Sheba before Solomon. There are also some fine marriage chests; two exquisite chess-boards (122, 123) of the sixteenth century, one of them with the _stemma_ of the Visconti, and other interesting objects. Ante-sala.—Pictures of the late sixteenth century. Sala Gialla.—A very ornate Seicento clock; some Oriental porcelain; two Sèvres vases (149), etc. Salone Dorato contains many treasures. The Madonna and Child, by Botticelli (156), though much restored, is a lovely picture, with that incomparable distinction of line and colour that characterise his work. The Portrait of a Young Woman (157) is ascribed to Piero dei Franceschi, but Verrocchio and Antonio Pollajuolo have also been suggested as the author. The outline has the play and movement, and the character a vivacity that one associates with Florentine painting, and the peculiarly large and impersonal qualities that Piero gets even into his portraits are absent. But whoever the artist may be, it is a very attractive work. The Madonna and Child (158) is by Rafaello Caponi, a Florentine Cinquecento painter. The Madonna Enthroned with Angels (154) is of the fifteenth century school of Murano. Apart from the pictures, the most precious object in the room is a marvellous Persian Carpet (159) of the fifteenth or sixteenth century, of large size and in perfect preservation. The beauty of the design and the exquisite colour make this carpet a miracle of decorative art. It was made for the feet of princes, as the legend, worked in silver round the border, records:—_Blessed is the carpet which in a pleasant company has become shadowed beneath the footsteps of the Shah_. _It has sacrificed itself upon his path, as the sun does, and has offered itself beneath his feet like a white fleece._ _This is not a carpet, it is a white rose; it is a fabric which resembles the eyes of the very Houris...._[22] And so on. Footnote 22: An Italian translation of these verses is given in the _Rassegna d’Arte_ (Anno iv., No. 10), and appears in the official catalogue of the Museum. Another beautiful piece of work (155) is the middle portion of a vestment of the later fifteenth century, embroidered with the Coronation of the Virgin and two devotees kneeling at the sides.