These Moses and Solomon pictures in the Uffizi are of course only a pretext for gloriously coloured arrangements of people with rich scenic backgrounds.

No.621 is the finer.

The way in which the baby is being held in the other indicates how little Giorgione thought of verisimilitude.

The colour was the thing.
After the Giorgiones the Titians, chief of which is No.633, "The Madonna and Child with S.John and S.Anthony," sometimes called the "Madonna of the Roses," a work which throws a pallor over all Tuscan pictures; No.626, the golden Flora, who glows more gloriously every moment (whom we shall see again, at the Pitti, as the Magdalen); the Duke and Duchess of Urbino, Nos.605 and 599, the Duchess set at a window with what looks so curiously like a deep blue Surrey landscape through it and a village spire in the midst; and 618, an unfinished Madonna and Child in which the Master's methods can be followed.

The Child, completed save for the final bath of light, is a miracle of draughtsmanship.
The triptych by Andrea Mantegna (1431-1506) is of inexhaustible interest, for here, as ever, Mantegna is full of thought and purpose.