The left panel shows Tommaso praying with his two sons Antonio and Pigallo, the right his wife Maria Portinari and their adorably quaint little daughter with her charming head-dress and costume.

The flowers in the centre panel are among the most beautiful things in any Florentine picture: not wild and wayward like Luca Signorelli's, but most exquisitely done: irises, red lilies, columbines and dark red clove pinks--all unexpected and all very unlikely to be in such a wintry landscape at all.

On the ground are violets.

The whole work is grave, austere, cool, and as different as can be from the Tuscan spirit; yet it is said to have had a deep influence on the painters of the time and must have drawn throngs to the Hospital to see it.
The other Flemish and German pictures in the room are all remarkable and all warmer in tone.No.906, an unknown work, is perhaps the finest: a Crucifixion, which might have borrowed its richness from the Carpaccio, we saw in the Venetian room.

There is a fine Adoration of the Magi, by Gerard David (1460-1523); an unknown portrait of Pierantonio Baroncelli and his wife, with a lovely landscape; a jewel of paint by Hans Memling (1425-1492)--No.