hio, and by one firm of
photographers Botticini, and by another Botticelli, is a fine free
thing, low in colour, with a quiet landscape, and is altogether a
delight. It represents Tobias and the three angels, and Raphael moves
nobly, although not with quite such a step as the radiant figure in a
somewhat similar picture in our own National Gallery--No. 781--which,
once confidently given to Verrocchio, is now attributed to Botticini;
while our No. 296, which the visitor from Florence on returning to
London should hasten to examine, is no longer Verrocchio but School
of Verrocchio. When we think of these attributions and then look at
No. 154 in the Accademia--another Tobias and the Angel, here given
to Botticini--we have a concrete object lesson in the perilous career
that awaits the art expert,

The other pictures here are two sunny panels by Ridolfo Ghirlandaio,
high up, with nice easy colouring; No. 92, an Adoration of the
Shepherds by Lorenzo di Credi, with a good landscape and all very
sweet and quiet; No. 98, a Deposition by Filippino Lippi and Perugino,
in collaboration, with very few signs of Filippino; and No. 90,
a Resurrection by Raffaellino del Garbo, an uncommon painter in
Florence; the whole thing a tour de force, but not important.

And now let us look at the Angelicos again.

Before leaving the Accademia for the last time, one should glance
at the tapestries near the main entrance, just for fun. That one in
which Adam names the animals is so delightfully naive that it ought to
be reproduced as a nursery wall-paper. The creatures pass in review
in four processions, and Adam must have had to be uncommonly quick
to make up his mind first and then rattle out their resultant names
in the time. The main procession is that of the larger quadrupeds,
headed by the unicorn in single glory; and the moment chosen by the
artist is that in which the elephant, having just heard his name
(for the first time) and not altogether liking it, is turning towards
Adam in surprised remonstrance. The second procession is of reptiles,
led by the snail; the third, the smaller quadrupeds, led by four rats,
followed desperately close (but of course under the white flag) by two
cats; while the fourth--all sorts and conditions of birds--streams
through the air. The others in this series are all delightful, not
the least being that in which God, having finished His work, takes
Adam's arm and flies with him over the earth to point out