[121] Alberti, _Opere Volgari_ (Firenze, 1847), vol. iv. p. 75.
[122] Mr. Berenson calls it a Portrait of Perugino, though for long it
passed as a Portrait of Verrocchio by Lorenzo di Credi.
[123] For a full account of the Umbrian school see my _Cities of
Umbria_.
[124] In 1416, Borgo S. Sepolcro was not just within the borders of
Tuscany of course, as it is to-day, but just without: it was part of the
Papal State till Eugenius IV sold it to Florence.
[125] Mr. Berenson calls the picture An Allegory of the Tree of Life,
and adds that it is certainly a late work of Giovanni.
[126] Of the Flemish, Dutch, German, and French pictures here I intend
to say no more than to name a few among them. The most valuable foreign
picture in Florence for the student of Italian art is Van der Goes'
(1425-82) great triptych (1525) of the Adoration of the Shepherds, with
the Family of the donor Messer Portinari, agent of the Medici in Bruges.
In the same sala are two Memlings (703, 778), and a Roger van der Weyden
(795). Two Holbeins, the Richard Southwell (765), and Sir Thomas More
(799), are in the German room; while Dürer's noble and lovely Adoration
of the Magi (1141) is still in the Tribuna, and his portrait of his
Father (766) is with the other German pictures in the German room. Some
too eloquent works of Rubens hang apart, while here and there you may
see a Vandyck--Lord John and Lord Bernard Stuart (1523), for instance,
or Jean de Montfort (1115), a little pensive and proud amid the
splendour of Italy.