I was much disappointed in the chapel of St. Lorenzo. Notwithstanding the great profusion of granite, porphyry, jasper, verde antico, lapis-lazuli, and other precious stones, representing figures in the way of marquetry, I think the whole has a gloomy effect. These pietre commesse are better calculated for cabinets, than for ornaments to great buildings, which ought to be large masses proportioned to the greatness of the edifice. The compartments are so small, that they produce no effect in giving the first impression when one enters the place; except to give an air of littleness to the whole, just as if a grand saloon was covered with pictures painted in miniature. If they have as little regard to proportion and perspective, when they paint the dome, which is not yet finished, this chapel will, in my opinion, remain a monument of ill taste and extravagance. The court of the palace of Pitti is formed by three sides of an elegant square, with arcades all round, like the palace of Holyrood house at Edinburgh; and the rustic work, which constitutes the lower part of the building, gives it an air of strength and magnificence. In this court, there is a fine fountain, in which the water trickles down from above; and here is also an admirable antique statue of Hercules, inscribed LUSIPPOI ERGON, the work of Lysippus. The apartments of this palace are generally small, and many of them dark. Among the paintings the most remarkable is the Madonna de la Seggiola, by Raphael, counted one of the best coloured pieces of that great master. If I was allowed to find fault with the performance, I should pronounce it defective in dignity and sentiment. It is the expression of a peasant rather than of the mother of God. She exhibits the fondness and joy of a young woman towards her firstborn son, without that rapture of admiration which we expect to find in the Virgin Mary, while she contemplates, in the fruit of her own womb, the Saviour of mankind. In other respects, it is a fine figure, gay, agreeable, and very expressive of maternal tenderness; and the bambino is extremely beautiful. There was an English painter employed in copying this picture, and what he had done was executed with great success. I am one of those who think it very possible to imitate the best pieces in such a manner, that even the connoisseurs shall not be able to distinguish the original from the copy. After all, I do not set up for a judge in these matters, and very likely I may incur the ridicule of the virtuosi for the remarks I have made: but I am used to speak my mind freely on all subjects that fall under the cognizance of my senses; though I must as freely own, there is something more than common sense required to discover and distinguish the more delicate beauties of painting. I can safely say, however, that without any daubing at all, I am, very sincerely--Your affectionate humble servant. LETTER XXIX NICE, February 20, 1765.