This poor lady, who died in childbirth, was the wife of Giovanni Tornabuoni, and he it was who employed Ghirlandaio to make the frescoes in the choir of S.Maria Novella.

(I ought, however, to state that Miss Cruttwell, in her monograph on Verrocchio, questions both the subject and the artist.) Close by we have two more works by Verrocchio--No.

180, a marble relief of the Madonna and Child, the Madonna's dress fastened by the prettiest of brooches, and She herself possessing a dainty sad head and the long fingers that Verrocchio so favoured, which we find again in the famous "Gentildonna" (No.

181) next it--that Florentine lady with flowers in her bosom, whose contours are so exquisite and who has such pretty shoulders.
Near by is the little eager S.John the Baptist as a boy by Antonio Rossellino (1427-1478), and on the next wall the same sculptor's circular relief of the Madonna adoring, in a border of cherubs.
In the middle is the masterpiece of Jacopo Sansovino (1486-1570): a Bacchus, so strangely like a genuine antique, full of Greek lightness and grace.

And then we come back to the wall in which the door is, and find more works from the delicate hand of Mino da Fiesole, whom we in London are fortunate in being able to study as near home as at the Victoria and Albert Museum.