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There are, however, certain reasons for following them in this chronological arrangement. The Venus and Cupid which hangs in the Tribuna of the Uffizi, as the pendant to the more resplendent but more realistic Venus of Urbino, is a darker and less well-preserved picture than its present companion, but a grander if a more audacious presentment of the love-goddess.
But they need a strong stomach. Mine, I confess, quailed before the end. The hero of the Museum is Galileo, whose tomb at S. Croce we have seen: here are preserved certain of his instruments in a modern, floridly decorated Tribuna named after him.
It was still early, and the little octagonal room in the Tribuna was filled with half-lights like a sanctuary; I stood with folded hands in deep adoration before the silent image of the divinity. But I did not stand for long. Not a human soul was in the gallery, not even an Englishman, and I fell down on my knees.
Founded by Cosimo I, built originally by George Vasari, and greatly enlarged by Francis I, who succeeded to the Grand Duchy in 1574, the gallery owed most perhaps to the Cardinal, afterwards Ferdinand I, who constructed the Tribuna, and to Cardinal Leopold, an omnivorous collector, who died in 1675.
Are we to place here, as Crowe and Cavalcaselle do, the Venus and Cupid of the Tribuna and the Venus with the Organ Player of the Prado? The technical execution of these canvases, the treatment of landscape in the former, would lead the writer to place them some years farther on still in the oeuvre of the master.
The rooms next the Tribuna have for some time been under reconstruction, and of these I say little, nor of what pictures are to be placed there. But with the Tribuna, in any case, the collection suddenly declines, begins to crumble. The first of these rooms, in the spring of this year, 1912, was opened with a number of small Italian paintings; but they are probably only temporarily there.
Francesco Maria had espoused Eleonora Gonzaga, the sister of Titian's protector, Federigo, and it is probably through the latter that the relations with our master sprang up to which we owe a small group of his very finest works, including the so-called Venus of Urbino of the Tribuna, the Girl in a Fur Cloak of the Vienna Gallery, and the companion portraits of Francesco Maria and Eleonora which are now in the Venetian Gallery at the Uffizi.
If they were removed from their ugly surroundings and placed, say, in the Tribuna of David in the Belle Arti at Florence instead of the plaster casts that represent the master in his own city, they, with the other fragments, such as the Saint Matthew, the Apollo, the Victory, and the other works in the Bargello, would make a gallery of his art even worthy of Michael Angelo.
S. Zenobius Piero della Francesca Federigo da Montefeltro Melozzo da Forli The Tribuna Raphael Re-arrangement The gems The self-painted portraits A northern room Hugo van der Goes Tommaso Portinari The sympathetic Memling Rubens riotous Vittoria della Rovere Baroccio Honthorst Giovanni the indiscreet The Medusa Medici miniatures Hercules Seghers The Sala di Niobe Beautiful antiques.
The first statue on the right of the entrance of the Tribuna del David is a group called "Genio Vittorioso". Here in the old man we see rock actually turned to life; in the various "Prisoners" near we see life emerging from rock; in the David we forget the rock altogether. One wonders how Michelangelo went to work.
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