25), of an old placid, shrewd woman, executed from a death-mask, which the photographers call Contessina de' Bardi, wife of Cosimo de' Medici, by Donatello, but which cannot be so, since the sculptor died first; heads of Apollo and two babies, over the Ghiberti and Brunelleschi competition reliefs; a crucifixion by Bertoldo; a row of babies representing the triumph of Bacchus; and below these a case of medals and plaquettes, every one a masterpiece.
The next room, Sala VII, is apportioned chiefly between Cellini and Gian or Giovanni da Bologna, the two sculptors who dominate the Loggia de' Lanzi.

Here we may see models for Cellini's Perseus in bronze and wax and also for the relief of the rescue of Andromeda, under the statue; his Cosimo I, with the wart (omitted by Bandinelli in the head downstairs, which pairs with Michelangelo's Brutus); and various smaller works.

But personally I find that Cellini will not do in such near proximity to Donatello, Verrocchio, and their gentle followers.

He was, of course, far later.

He was not born (in 1500) until Donatello had been dead thirty-four years, Mino da Fiesole sixteen years, Desiderio da Settignano thirty-six years, and Verrocchio twelve years.