We next pass to three rooms in which are hung works by Netherland artists, formerly in the La Caze collection, among which, in Room XXXIII., are 2579, Van Steen's, Family Repast; and 2454, Nicholas Maes', Grace before Meat. In XXXIV. are two well-known works: 1916, Adrian Brouwer's, The Smoker; and 2384, The Gipsy, a masterpiece by Franz Hals. A fine Vandyck, 1979, Head of an Old Man; Rubens' portrait of Marie de' Medici, 2109; and a sketch in oils, 2122, Elevation of the Cross, are in Room XXXV. We return to the Salle Vandyck and the Grande Galerie, along which we retrace our steps and enter, at its further end, the SALON CARRE, ROOM IV. where an assortment of masterpieces is hung from the various schools we have visited. We begin with the Raphaels: On the L. (W. wall), 1496, La Belle Jardiniere, painted in 1507, is the most delightful of the Florentine Madonnas for which it is said a flower-girl of Florence sat; Vasari relates that the unfinished mantle was left to Ridolfo Ghirlandaio to complete; 1498, The Holy Family, styled of Francis I. and designed at Rome (1518) in the zenith of the artist's power, was presented by Pope Leo X. to Francis' queen; the inky hand of Giulio had no small part in the work. In the same year was painted 1504, (diagonally opposite) the dramatic St. Michael, a picture which evoked much interest at Rome, and whose coloration was adversely criticised by Sebastiano del Piombo; here also the hand of Giulio is all too apparent, and the picture, moreover, has suffered much in its transference from wood to canvas. 1505, N. wall, the masterly and authentic portrait of Baltazar Castiglione, was executed in 1506. On the same wall among the Venetians we find the much-disputed Al Fresco Concert, 1136, here ascribed to Giorgione, an ascription which has the support of Morelli and Berenson. The magnificent Titian, 1590, variously known as Titian and his Mistress, and the Lady with the Mirror, is supposed to be the portraits of Duke Alfonso of Ferrara and his mistress, Laura Diante, later his wife, the daughter of a poor artizan who more than once sat to Titian as a model. The portrait on the S. wall, 1592, The Man with the Glove, extolled by Vasari as an _opera stupenda_, and 1584, The Entombment, on the E. wall, are the two greatest Titians in the Louvre, where the artist's majesty and power are displayed in their highest degree. 1583, The Crown of Thorns, E. wall, is a work of the painter's old age.[210] The sensual features of Francis I., 1588, S. wall, were painted from a medal. [Footnote 210: See, however, note to p. 357.]