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The Galileo by Sustermans No. 163 on the contrary would be from life; and after the Tribuna portrait of Rubens' first wife it is interesting to find here his pleasant portrait of Helen Fourment, his second. I like also the hints of tenderness of Bernardino Luini which break through the hardness of the Aurelio Luini picture No. 204.

Ferdinand II and his Grand Duchess were on bad terms for most of their lives, and she behaved foolishly, and brought up her son Cosimo III foolishly, and altogether was a misfortune to Florence. Sustermans the painter she held in the highest esteem, and in return he painted her not only as herself but in various unlikely characters, among them a Vestal Virgin and even the Madonna.

No. 265, "Principe Mathias de' Medici," is a good bold Sustermans, but No. 190, on the opposite wall, is a far better a most charming work representing the Crown Prince of Denmark, son of Frederick III. Justus Sustermans, who has so many portraits here and elsewhere in Florence, was a Belgian, born in 1597, who settled in Florence as a portrait painter to Cosimo III. Van Dyck greatly admired his work and painted him.

Luca Pitti's pride Preliminary caution A terrace view A collection but not a gallery The personally-conducted Giorgione the superb Sustermans The "Madonna del Granduca" The "Madonna della Sedia" From Cimabue to Raphael Andrea del Sarto Two Popes and a bastard The ill-fated Ippolito The National Gallery Royal apartments "Pallas Subduing the Centaur" The Boboli Gardens.

Here also is a very beautiful portrait of Richard Southwell, by Holbein, with the peacock-green background that we know so well and always rejoice to see; a typical candle-light Schalcken, No. 800; several golden Poelenburghs; an anonymous portrait of Virgilius von Hytta of Zuicham, No. 784; a clever smiling lady by Sustermans, No. 709; the Signora Puliciani and her husband, No. 699; a rather crudely coloured Rubens "Venus and Adonis" No. 812; the same artist's "Three Graces," in monochrome, very naked; and some quaint portraits by Lucas Cranach.