. Florence and her treasures. f Halls, wasadorned by Luigi Sabatelli and his son Francesco Sabatelli,with episodes from the Iliad of Homer. No. 184. Andrea del Sarto. So-called Portrait ofthe Artist. The unexpressive countenance and dull colouring renderthis work one of Andreas least successful attempts at self-portraiture. No. 185. Giorgione. The Concert. This celebrated picture has also been ascribed to Titian,and the authorship of Giorgione is still disputed. The atti-tude of the friar seated at the clavichord glancing backwardsat his companion with the lute, as though to compare thenotes o
. Florence and her treasures. f Halls, wasadorned by Luigi Sabatelli and his son Francesco Sabatelli,with episodes from the Iliad of Homer. No. 184. Andrea del Sarto. So-called Portrait ofthe Artist. The unexpressive countenance and dull colouring renderthis work one of Andreas least successful attempts at self-portraiture. No. 185. Giorgione. The Concert. This celebrated picture has also been ascribed to Titian,and the authorship of Giorgione is still disputed. The atti-tude of the friar seated at the clavichord glancing backwardsat his companion with the lute, as though to compare thenotes of the two instruments, has suggested a portrait of theVenetian friar, Fra Giovanni Spineto, the actual inventor ofthe spinet {circa 1503). The heads of these two Dominicanmusicians are drawn with much force of character. Notealso the beautiful hands of the player. No. 186. Paolo Veronese. Baptism of Christ. A decorative but somewhat uninteresting example of thispainter. No. 188. Salvator Rosa. Portrait of the Artist ()-. 5 ? THE PITTI GALLERY 179 A quasi-replica of the painting in the Uffizi. No. 190. Justus Sustermans. Portrait of the Princeof Denmark. One of the best royal portraits by this prolific artist,Court painter to the Grand-Duke, the Emperor, and severalother sovereigns. Born in 1646 Prince Christian was sent onhis travels at the age of some sixteen years, succeeding hisfather Frederick III in 1670 as the first hereditary King ofDenmark and Norway. Most successful in rendering hissitters pleasing mien, thoughtful beyond his years, Suster-mans dexterity in the treatment of accessories may be ap-preciated in the damascened armour set off by a brilliant blueand white sash. No. 191. Andrea del Sarto. The Assumption. This fine composition, the artists last important work,remained unfinished at his death in 1531. Bartolommeo Panciatichi had commissioned Andrea in 1519to paint this picture for the city of Lyons to which he desiredto leave a remembrance. The compositio
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