92, an Adoration of the Shepherds by Lorenzo di Credi, with a good landscape and all very sweet and quiet; No.

98, a Deposition by Filippino Lippi and Perugino, in collaboration, with very few signs of Filippino; and No.

90, a Resurrection by Raffaellino del Garbo, an uncommon painter in Florence; the whole thing a tour de force, but not important.
And now let us look at the Angelicos again.
Before leaving the Accademia for the last time, one should glance at the tapestries near the main entrance, just for fun.

That one in which Adam names the animals is so delightfully naive that it ought to be reproduced as a nursery wall-paper.

The creatures pass in review in four processions, and Adam must have had to be uncommonly quick to make up his mind first and then rattle out their resultant names in the time.