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104 Section 3. BERLIN. Emp. Frederick Museum:
and several reliefs of the Madonna. — 191 d. Sperandio, But ef a
Bolognese jurist. Farther on: 191. Franc. Franeia, Portrait; above,
156 b. School of Donatello, Madonna. — 192 b. Guido Mazzoni,
Portrait; 199. Lombard School (ca. 1500), SS. Francis and Dominic,
Room 17 contai ns Sculptures of the Renaibsahce at its Zenith
and also a series of frescoes by B. Luini from the myth of Europa
To the left of the entrance, No. 218. Baccio BandineUi, Model ot
a portrait of himself. On the wall opposite the window chiefly works
by Jacopo Sansovino: to the left, 231. Madonna enthroned with
saints; to the right, 232. Madonna and Child. Spanish Hasten
(17th cent.;, 276. Mater Dolorosa, Angels playing music. In front of
the curtain, *86. Benedetto da Maiano, Madonna and Child, life-
size painted terracotta.group. By the window: 225. OristofaroRo¬
mano (?), Bust of Teodorina Cibo.
B. Upper Floor.
Returning to the entrance hall (p. 96), we ascend the stairs or
take the lift (10 pf.) to the upper floor, which contains the picture
gallery and most of the Italian Renaissance sculptures. In the cor¬
ridor adjoining the landing are busts of Voltaire and Glnck by
Houdon, etc.
The nucleus of the **Picture G-allery consists of the pictures
of the Giustiniani Collection purchased in 18,15 at Paris, of the
collection of Mr. Solly, an Englishman, purchased in 1821, and of a
selection made in 1829 of Pictures from the Royal Palaces. The
present importance, however, of the Berlin Gallery is due to the
acquisitions of the last few decades. The purchase of the celebrated
Suermondt Collection in 1874 (for about 50,0001.), particularly rich
in excellent Dutch works, was followed by nnmerous single acquisi¬
tions in Italy, England (from the Blenheim and Dudley galleries, etc.),
France, and Germany, by which many prominent works were brought
to Berlin. Though it has fewer masterpieces by the great painters
than the collections of Florence, Paris, Dresden, and Madrid, the
Berlin Gallery is rivalled by the National Gallery at London alone
in the historical completeness with which the artists of the various
schools and periods are represented.
The Early Italian Masters are particularly well represented
in the Berlin Gallery. Among the painters of the 14th century we
meet Duccio, Giotto, the Gaddi, and others. The Last Judgment
by Fra Angelico, the Madonna with the two SS. John by Sandro
Botticelli^ the Madonna enthroned and Saints by Cosimo Tura and
Carlo Crivelli, the Portrait of a Woman by Domenico Veneziano,
Pan among the Shepherds and Nymphs and also the Portrait of an
Old Man by Luca Signorelli, the large altar-piece by L. Vivarinji,
the Adoration of the Magi by A. Vivarini, and the small portrait1
by Antonello da Messina rank among the finest creations of these