The new Austrian Grand Dukes continued to add to the Uffizi, particularly Pietro-Leopoldo (1765-1790), who also founded the Accademia. To him was due the assembling, under the Uffizi roof, of all the outlying pictures then belonging to the State, including those in the gallery of the hospital of S. Maria Nuova, which owned, among others, the famous Hugo van der Goes. It was he also who brought together from Rome the Niobe statues and constructed a room for them. Leopold II added the Iscrizioni.

It was as recently as 1849. to 1856 that the statues of the great Florentines were placed in the portico. These, beginning at the Palazzo Vecchio, are, first, against the inner wall, Cosimo Pater (1389-1464) and Lorenzo the Magnificent (1450-1492) ; then, outside: Orcagna ; Andrea Pisano, of the first Baptistery doors ; Giotto and Donatello ; Alberti, who could do everything and who designed the facade of S. Maria Novella ; Leonardo and Michelangelo. Next, three poets, Dante (1265-1321), Francesco Petrarca. (1304-1374), and Giovanni Boccaccio (1313-1875). Then Niccolo Machiavelli (1469-1527), the statesmen, and Francesco Guicciardini (1482-1540), the historian. That completes the first side.

At the end are Amerigo Vespucci (1451-1516), the explorer, who gave his name to America, and Galileo Galilei (1564-1642), the astronomer ; and above is, Cosimo, I, the first Grand Duke.

On the Uffizi's river facade are four figures only and hundreds of swallows' nests. The figures are Francesco Ferrucci, who died in 1530, the general painted by Piero di Cosimo in our National Gallery, who recaptured Volterra from Pope Clement VII in 1529; Giovanni delle Bande Nere (1500-1527), father of Cosimo I, and a great fighting man ; Piero Capponi, who died in 1496, and delivered Florence from Charles VIII in 1494, by threatening to ring the city bells ; and Farinat degli Uberti, an earlier soldier, who died in 1264 and is in the "Divina Commedia" as a hero. It was he who, repulsed the Ghibelline suggestion that Florence should be destroyed and the inhabitants emigrate to Empoli.

Working back towards the Loggia de' Lanzi we find less-known names: Pietro Antonio Michele (1679-1737), the botanist; Francesco Redi (1626-1697), a poet and a man of science; Paolo Mascagni (1732-1815), the anatomist; Andrea Cesalpino (1519-1603), the philosopher; S. Antonio (died 1461), Prior of the Convent of S. Marco and Archbishop of Florence; Francesco Accorso (1182- 1229), the jurist; Guido Aretino (eleventh century), musician ; and Benvenuto Cellini (1500-1570, the goldsmith and sculptor. The most notable omissions are Arnolfo and Brunelleschi (but these are, as we have seen, on the facade of the Palazzo de' Canonici, opposite the south side of the cathedral), Ghiberti, Fra Angelico, and Savonarola. Personally I should like to have still others here, among them Giorgio Vasari, in recognition of his enthusiastic and entertaining biographies of the Florentine artists, to say nothing of the circumstance that he designed this building.

Before we enter any Florentine gallery let me say that there is only one free day and that the crowded Sabbath. Admittance to all is charged for and there is no readmission. The King has recently given to the State a number of his pictures to be used in the furtherance of art ; but the State gives nothing. Visitors, however, who can satisfy the authorities that they are desirous of studying the works of art with a serious purpose can obtain free passes; but only after certain preliminaries, which include a seance with a photographer to satisfy the doorkeeper, by comparing the real and counterfeit physiognomies, that no illicit transference of the precious privilege has been made.

Infirm, languid visitors should get it clearly into their heads (1) that the tour of the Uffizi means a long walk and (2) that there is a lift. You find it in the umbrella room at every Florentine gallery and museum is an official whose one object in life is to take away your umbrella and whatever fee is charged is worth paying. But walking down the stairs is imperative, because otherwise one would miss Silenus and Bacchus, and a beautiful urgent Mars, in bronze, together with other fine sculptured things.

One should never forget, in any gallery in Florence, to look out of the windows. There is always a courtyard, a street, or a spire against the sky ; and at the Uffizi there are the river and bridges and mountains. From the loggia of the Palazzo Vecchio I once saw a woman with some twenty or thirty city pigeons on the table of her little room, feeding them with maize.

Except for glimpses of the river and the Via Guicciardini which it gives, I advise no one to walk through the passage uniting the Pitti and the Uffizi unless of course bent on catching some of the ancient thrill when armed men ran swiftly from one palace to the other to quell a disturbance or repulse an assault. Particularly does this counsel apply to wet days, when all the windows are closed and there is no air. A certain interest attaches to the myriad portraits which line the walls, chiefly of the Medici and comparatively recent worthies ; but one must have a glutton's passion either for paint or history to wish to examine these. As a matter of fact, only a lightning-speed tourist could possibly think of seeing both the Uffizi and the Pitti on the same day, and therefore the need of the passage disappears. It is hard worked only on Sundays.