In one he restores life to the dead child in the midst of a Florentine crowd; in the other his bier, passing the Baptistery, reanimates the dead tree.

Giotto's tower and the tower of the Palazzo Vecchio are to be seen on the left.

A very different picture is the Cosimo Rosselli, No.

1280 his, a comely "Madonna and Saints," with a motherly thought in the treatment of the bodice.
Among the other pictures is a naked sprawling scene of bodies and limbs by Cosimo I's favourite painter, Bronzino (1502-1572), called "The Saviour in Hell," and two nice Medici children from the same brush, which was kept busy both on the living and ancestral lineaments of that family; two Filippino Lippis, both fine if with a little too much colour for this painter: one--No.

1257--approaching the hotness of a Ghirlandaio carpet piece, but a great feat of crowded activity; the other, No.