representing the Holy Family by Mariano Graziadei da Pescia, a pupil of Ridolfo Ghirlandaio. It is now on exhibition in the corridor of the Uffizi Gallery. Instead, there is a good painting of St. Bernard by an unknown artist. Sala dei Gigli The carved ceiling of the Hall of the Lilies, as this room is usually called, decorated with fleur-de-lys, and the Statue of St. John the Baptist and Putti are all by Benedetto da Maiano and his brother Giuliano. The golden fleur-de-lys decorations on blue background on the ceiling and three walls refer to the (short-lived) good relations between Florence and the French Crown. On the wall are frescoes by Domenico Ghirlandaio, painted in 1482. The apotheosis of St. Zenobius, first patron saint of Florence, was painted with a perspectival illusion of the background. In this background one can see the cathedral, with Giotto's original facade and bell tower. In the lunette above is a bas-relief of the Madonna and Child. This fresco is flanked on both sides by frescoes of famed Romans: on the left Brutus, Gaius Mucius Scaevola and Camillus, and on the right Decius, Scipio and Cicero. Medaillons of Roman emperors fill the spandrils between the sections. After its lengthy restoration, the (original) statue "Judith and Holofernes" by Donatello was given a prominent place in this room in 1988. A door in the east wall leads to the Stanza della Guardaroba (Hall of Geographical Maps). This door is flanked by two dark marble pillars, originally from a Roman temple. Stanza delle Mappe geografiche o Stanza della Guardaroba The Hall of Geographical Maps or Guardaroba was an ambitious room that set out to represent the known world of the 16th century through the display of a collection of artifacts and murals of cartography, all seen in relation to scientific instruments of time and astronomy. For various reasons, it was not seen to completion, yet the accounts of Giorgio Vasari, the room's designer, detail the proposed purpose and visualisation of the space. The Guardaroba was commissioned by Cosimo I de’ Medici, Grand Duke of Tuscany during his major reconstruction of the interior of the Palazzo. Construction of the guardaroba began in 1563. The idea behind the guardaroba is similar to that of late medieval studioli, which were small private study spaces, containing precious collected artifacts. Many courtly residences possessed similar spaces to the guardaroba, yet the guardaroba of