. Florence and her treasures. ure. The modelling of the expressive face is moresubtle here than is usual with Francia, and contrasts forciblywith the delicate landscape. Note the fine sixteenth-centuryframe. No. 1117. Titian. Venus of Urbino. This masterly study of the nude is carried out with restraintand distinction. A certain general resemblance, togetherwith the little spaniel lying upon the couch, have suggestedthe identity of the very attractive figure with the DuchessEleonora, wife of Francesco-Maria della Rovere, for whomthe picture was painted in 1573. No. 1120. Raphael. Portrait of a
. Florence and her treasures. ure. The modelling of the expressive face is moresubtle here than is usual with Francia, and contrasts forciblywith the delicate landscape. Note the fine sixteenth-centuryframe. No. 1117. Titian. Venus of Urbino. This masterly study of the nude is carried out with restraintand distinction. A certain general resemblance, togetherwith the little spaniel lying upon the couch, have suggestedthe identity of the very attractive figure with the DuchessEleonora, wife of Francesco-Maria della Rovere, for whomthe picture was painted in 1573. No. 1120. Raphael. Portrait of a Gentlewoman. This portrait, executed probably about 1505, belongs toRaphaels early period. The features show many points ofsimilarity with the two fine female likenesses of MaddalenaDoni and La Donna Gravida (Nos. 59 and 229, Pitti), es-pecially the former. The hands are modelled with notableforce, the details and colouring of the draperies being treatedwith conspicuous breadth and finish. No. 582. MORONI. Portrait of a POFE JULIUS IIFrom the painting by Raphael in the Uffizi Gallery P- 148 THE UFFIZI GALLERY 149 An interesting head, probably the fragment of a largerpainting. No. 1140. Rubens. Hercules betweefi Vice and Virtue, An uninteresting but brilliantly coloured work. No. 1123. Sebastiano del Piombo. Portrait of aWoman. This fine portrait, painted about 1512, was formerly errone-ously identified with Raphaels Fornarina (Pitti, No. 245).We note here all the artists best qualities, restraint in com-position and warm, deep colour. The contrast of the auburnhair and pale flesh tints with the richly embroidered fur-trimmed bodice is most effective. No. 1132. Venetian School. The Head of theBaptist. Formerly ascribed to Correggio. No. 1125. Franciabigio. The Virgin and Child, com-monly styled La Madonna del Pozzo . The transparent colour and graceful composition led to theformer attribution of this charming work to Raphael. Epi-sodes in the life of Christ are dep
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