this figure does.  His cherubs and dolphins are very skilful and merry; his turkey and eagle and other animals indicate that he had humility.  John of Bologna is best known at Florence by his Rape of the Sabines and Hercules and Nessus in the Loggia de’ Lanzi; but the Boboli gardens have a fine group of Oceanus and river gods by him in the midst of a lake.  Before leaving this room look at the relief of Christ in glory (No. 35), to the left of the door, by Jacopo Sansovino, a rival of Michelangelo, which is most admirable, and at the case of bronze animals by Pietro Tacca, John of Bologna’s pupil, who made the famous boar (a copy of an ancient marble) at the Mercato Nuovo and the reliefs for the pediment of the statue of Cosimo I (by his master) in the Piazza della Signoria.  But I believe that the most beautiful thing in this room is the bronze figure for the tomb of Mariano Sozzino by Lorenzo di Pietro.

Before we look at the della Robbias, which are in the two large rooms upstairs, let us finish with the marble and terra-cotta statuary in the two smaller rooms to the left as one passes through the first della Robbia room.  In the first of them, corresponding to the room with Verrocchio’s David downstairs, we find Verrocchio again, with a bust of Piero di Lorenzo de’ Medici (whom Botticelli painted in the Uffizi holding a medal in his hand) and a most exquisite Madonna and Child in terra-cotta from S. Maria Nuova. (This is on a hinge, for better light, but the official skies will fall if you touch it.) Here also is the bust of a young warrior by Antonio Pollaiuolo (1429-1498) who was Verrocchio’s closest rival and one of Ghiberti’s assistants for the second Baptistery doors.  His greatest work is at Rome, but this bust is indescribably charming, and the softness of the boy’s contours is almost of life.  It is sometimes called Giuliano de’ Medici.  Other beautiful objects in the room are the terra-cotta Madonna and Child by Andrea Sansovino (1460-1529), Pollaiuolo’s pupil, which is as radiant although not so domestically lovely as Verrocchio’s; the bust by Benedetto da Maiano (1442-1497) of Pietro Mellini, that shrewd and wrinkled patron of the Church who presented to S. Croce the famous pulpit by this sculptor; an ancient lady, by the door, in coloured terra-cotta, who is thought to represent Monna Tessa, the nurse of Dante’s Beatrice; and certain other works by that delightful and prolific person Ignoto Fiorentino, who here, and in the next room, which we now enter, is at his best.

This next priceless room is chiefly memorable for Verrocchio and Mino da Fiesole.  We come to Verrocchio at once, on the left, where his relief of the death of Francesca Pitti Tornabuoni (on a tiny bed only half as long as herself) may be seen.  This poor lady, who died in childbirth, was the wife of Giovanni Tornabuoni, and he it was who employed Ghirlandaio to make the frescoes in the choir of S. Maria Novella. (I ought, however, to state that Miss Cruttwell, in