It represents Tobias and the three angels, and Raphael moves nobly, although not with quite such a step as the radiant figure in a somewhat similar picture in our own National Gallery--No.

781--which, once confidently given to Verrocchio, is now attributed to Botticini; while our No.

296, which the visitor from Florence on returning to London should hasten to examine, is no longer Verrocchio but School of Verrocchio.

When we think of these attributions and then look at No.

154 in the Accademia--another Tobias and the Angel, here given to Botticini--we have a concrete object lesson in the perilous career that awaits the art expert, The other pictures here are two sunny panels by Ridolfo Ghirlandaio, high up, with nice easy colouring; No.