196, Van Dyck's portrait of Margherita of Lorraine, whose daughter became Cosimo III's wife--a mischievous, weak face but magnificently painted; and No.

1536, a vividly-painted elderly widow by Jordaens (1593-1678); and on each side of the outrageous Rubens a distinguished Dutch gentleman and lady by the placid, refined Mierevelt.
The two priceless rooms devoted to Iscrizioni come next, but we will finish the pictures first and therefore pass on to the Sala di Baroccio.

Federigo Baroccio (1528-1612) is one of the later painters for whom I, at any rate, cannot feel any enthusiasm.

His position in the Uffizi is due rather to the circumstance that he was a protege of the Cardinal della Rovere at Rome, whose collection came here, than to his genius.

This room again is of interest rather historically than artistically.