In the next room--the Sala di Venere, and the last room in the long
suite--we find another Raphael portrait, and another Pope, this time
Julius II, that Pontiff whose caprice and pride together rendered
null and void and unhappy so many years of Michelangelo's life,
since it was for him that the great Julian tomb, never completed, was
designed. A replica of this picture is in our National Gallery. Here
also are a wistful and poignant John the Baptist by Dossi, No. 380;
two Duerers--an Adam and an Eve, very naked and primitive, facing
each other from opposite walls; and two Rubens landscapes not equal
to ours at Trafalgar Square, but spacious and lively. The gem of the
room is a lovely Titian, No. 92, on an easel, a golden work of supreme
quietude and disguised power. The portrait is called sometimes the
Duke of Norfolk, sometimes the "Young Englishman".

Returning to the first room--the Sala of the Iliad--we enter the Sala
dell' Educazione di Giove, and find on the left a little gipsy portrait
by Boccaccio Boccaccino (1497-1518) which has extraordinary charm:
a grave, wistful, childish face in a blue handkerchief: quite a new
kind of picture here. I reproduce it in this volume, but it wants
its colour. For the rest, the room belongs to less-known and later
men, in particular to Cristofano Allori (1577-1621), with his famous
Judith, reproduced in all the picture shops of Florence. This work is
no favourite of mine, but one cannot deny it power and richness. The
Guido Reni opposite, in which an affected fat actress poses as
Cleopatra with the asp, is not, however, even tolerable.

We next pass, after a glance perhaps at the adjoining tapestry room
on the left (where the bronze Cain and Abel are), the most elegant
bathroom imaginable, fit for anything rather than soap and splashes,
and come to the Sala di Ulisse and some good Venetian portraits:
a bearded senator in a sable robe by Paolo Veronese, No. 216, and,
No. 201, Titian's fine portrait of the ill-fated Ippolito de'
Medici, son of that Giuliano de' Medici, Duc de Nemours, whose
tomb by Michelangelo is at S. Lorenzo. This amiable young man was
brought up by Leo X until the age of twelve, when the Pope died,
and the boy was sent to Florence to live at the Medici palace,
with the base-born Alessandro, under the care of Cardinal Passerini,
where he remained until Clarice de' Strozzi ordered both the boys to
quit. In 1527 came the third expulsion of the Medici from Fl