1120, so rich and unfeeling, and then Francia's portrait of Evangelista Scappi, so rich and real and a picture that one never forgets.

Raphael's Julius II comes next, not so powerful as the version in the Pitti, and above that Titian's famous Venus.

In Perugino's portrait of Francesco delle Opere, No.

287, we find an evening sky and landscape still more lovely than Francia's.

This Francesco was brother of Giovanni delle Corniole, a protege of Lorenzo de' Medici, famous as a carver of intaglios, whose portrait of Savonarola in this medium, now preserved in the Uffizi, in the Gem Room, was said by Michelangelo to carry art to its farthest possible point.
A placid and typical Perugino--the Virgin and two saints--comes next, and then a northern air sweeps in with Van Dyck's Giovanni di Montfort, now darkening into gloom but very fine and commanding.