Titian's second Venus is above, for which his daughter Lavinia acted as model (the Venus of the other version being possibly the Marchesa della Rovere), and under it is the only Luini in the Uffizi, unmistakably from the sweet hand and full of Leonardesque influence.

Beneath this is a rich and decorative work of the Veronese school, a portrait of Elisabetta Gonzaga, with another evening sky.

Then we go north again, to Duerer's Adoration of the Magi, a picture full of pleasant detail--a little mountain town here, a knight in difficulties with his horse there, two butterflies close to the Madonna--and interesting also for the treatment of the main theme in Duerer's masterly careful way; and then to Spain to Spagnoletto's "S.

Jerome" in sombre chiaroscuro; then north again to a painfully real Christ crowned with thorns, by Lucas van Leyden, and the mousy, Reynoldsy, first wife of Peter Paul Rubens, while a Van Dyck portrait under a superb Domenichino and an "Adam and Eve" by Lucas Cranach complete the northern group.

And so we come to the two Correggios--so accomplished and rich and untouching--all delightful virtuosity without feeling.