Galvani, Volta and Marconi, statesmen like Mazzini, and soldiers like
Garibaldi. The other principal hall contains a series of rooms
representing the cities of Italy during the Renaissance. First from the
east is a reproduction of the Fifteenth Century library of the sacristy
of the Church of Santa Maria alle Grazie at Milan, a chamber of
beautiful armoires of carved wood, with panels painted with sacred
pictures in colors. Next is a Neapolitan room, filled with reproductions
in bronze and silver and marble of the Pompeiian treasures of the
Museums of Naples and Rome. Then comes the Florentine Room, furnished in
Fifteenth Century style with carved and inlaid wood, and adorned with
copies of the best bronzes and marbles of the great mediaeval city.
There is also a dining room in Fourteenth Century Florentine style, and
then comes, at the western end, the Royal Salon, a magnificent hall with
ceilings in blue and gold, and murals by Pieretto and Bruno Ferrari.

All the art works of the mediaeval rooms are copies of originals, but in
the Bargello Hall, Signor Canessa, who was J. P. Morgan's European
agent, shows his collection of veritable Italian and ancient art. Here
are many things familiar through books, Michelangelo's bust of the
Virgin; a cabinet full of reliquaries and profane vessels in crystal,
gold and enamel done by Beuvenuto Cellini; the bronze Bacchante with
silver eyes which was dug up in the gardens of the Persian embassy at
Stamboul, and which dates from the Third Century B. C.; the famous
portrait bust in rock-crystal of an Egyptian king of the Eighteenth
Dynasty; madonnas and saints by Fifteenth Century painters; a complete
garden set, fountain, statues and all, from a Pompeiian villa; Greek
bronze and silver vessels and statuettes; Bernini's bust of the Cardinal
de Medici; Fifteenth Century tapestries, and so many other objects of
mediaeval and ancient art that a special catalogue has been prepared to
describe them.