--Pictures: First Floor._

(_a_) FOREIGN SCHOOLS.

We enter by the Pavilion Denon, in the middle of the S. wing, opposite
the Squares du Louvre which are bounded on the W. by the Place du
Carrousel and the monument to Gambetta. Turning L. along the Galerie
Denon we mount the Escalier Daru to the first landing below the Winged
Victory (p. 341), turn R., ascend to a second landing, and on either
side find two charming frescoes from the Villa Lemmi, which was
decorated by Botticelli to celebrate the Nuptials of Lorenzo
Tornabuoni and Giovanna Albizzi.[203] To the L., 1297, The Three
Graces are presented to the bride; R., 1298, The Seven Liberal Arts to
the bridegroom. The latter fresco is generally believed to have been
the work of a pupil. On the wall that forms an angle with this is a
fresco, The Crucifixion, 1294, by Fra Angelico from the Dominican
monastery at Fiesole. A door L. of 1297 leads to

ROOM VII.

containing a small but choice collection of early Italian paintings,
all of which will repay careful study. We note on the entrance wall,
1260, a Virgin and Child by Cimabue--if indeed we may now assign any
work to that elusive personality.[204] L. of this is a genuine Giotto,
1312, described by Vasari: St. Francis receiving the Stigmata. In the
predella, Vision of Pope Innocent III.; Papal Confirmation of the
Rule; The Saint preaching to the Birds--each scene portrayed with all
the sweet simplicity of a chapter in the Fioretti. Below 1260 is a
predella, 1302, by Taddeo Gaddi: Death of the Baptist; the
Crucifixion; Martyrdom of the Saint. On the R. wall is 1301, a
conventional early Florentine Annunciation by Agnolo Gaddi, his pupil.
Among the early Sienese on the L. wall is 1383, a charming little
Simone Martini: Christ bearing the Cross. The gem of the collection
and one of the most precious pictures in Europe is 1290, on this wall,
Fra Angelico's Coronation of the Virgin, which Vasari declared might
have been painted by one of the blessed spirits or angels represented
in the picture, so unspeakably delightful were their forms; so gentle
and delicate their mien, so glorious their coloration. "Even so," he
adds, "must they be in heaven and I never gaze on this picture without
discovering fresh beauties, nor withdraw my eyes from it, satisfied
with seeing." The scenes in the predella are from the life of St.
Dominic and form an interesting parallel with those of the Giotto.
Other works by the angelic master a