Picture Gallery. ROME. IV. Right Bank. 293
is given up here (fee V4-V2 fr-)- ~~ne pictures are furnished with
notices of the subjects and the names of the artists. Catalogue,
see p. 279.
I. Room. On the left: Quercino, John the Baptist; Leonardo da
Vinci, St. Jerome, dead-colouring, in shades of brown, evidently a
study of strong perspective, probably painted about 1480; *Ra-
phael, Annunciation, Adoration of the Magi, Presentation in the
Tempie, predelle to the Coronation of Mary (p. 294) ; Fra Angelico
da Fiesole, Scenes from the life of St. Nicholas of Bari ; Guercino,
Christ and Thomas; Giov. Bellini (more probably Buonconsiglio?),
M. Magdalen anointing the wounds of the Dead Christ; Frane.
Francia, (?), Madonna with St. Jerome ; Murillo (?), Martyrdom of
St. Peter Arbues ; Frane. Cossa (not Benozzo Gozzoli), Miracles of St.
Hyacinth. — Window-wall : Carlo Crivelli, Dead Christ with Mary,
St. John, and Mary Magdalen ; Garofalo, Madonna with SS. Joseph
and Catharine. — On the entrance-wall : Murillo, Adoration of the
Shepherds; Murillo, Betrothal of St. Catharine; Perugino, SS.
Benedict, Scholastica, andPlacidus; *Fra Angelico, Small Madonna
with angels on a gold ground ; Bonifazio, Madonna with St. John
and St. Catharine, and St. Peter and St. Paul. — Exit-wall: *Ra-
phael, Faith, Hope, and Charity, three charming female figures,
predella of the Entombment (p. 330), in grisaille (1507).
II. Room. On the right: *Domenichino, Communion of St. Je¬
rome, one of his best works (1614). — Opposite the window :
**Raphael, Madonna of Foligno, 1512; in the background the town
of Foligno, into which a bomb falls ; to the right, below, St. Je¬
rome recommends to the Madonna Sigismondo Conti, secretary of
Julius IL, who ordered the painting for S. Maria in Aracoeli, whence
it was transferred to S. Anna delle Contesse in Foligno in 1565
(comp. p. 200) ; to the left St. Francis of Assisi, and John the Bap¬
tist. 'In its striking vigour, the lifelike individuality of its portraits,
and the powerful and delicately-blended colouring the Madonna of
Foligno far surpasses ali Raphael's earlier oil-paintings'. The trans-
ference of the picture from wood to canvas, effected at Paris, whither
the picture had been carried during the wars of the Revolution, has
necessitated a little restOTation. — **Raphael, The Transfiguration,
his last great work, painted for Card. Giulio de' Medici (afterwards
Clement VII.), and preserved down to 1797 in S. Pietro in Mon-
torio (p. 321). The upper part is by Raphael's own hand: Christ
hovering between Moses and Elias; Peter, James, and John pros¬
trate on the ground, dazzled by the light. The figures, to the left,
in an attitude of adoration, are St. Lawrence and St. Stephen.
The lower half (much darkened by age), where the other disciples
are being requested to heal the possessed boy, was almost entirely
executed by Raphael's pupils.
III. Room. On the entrance-wall: *Titian, Portrait of Nicc.
Marcello, Doge of Venice (1473-74), not painted from life, but
Permalink: http://pid.emory.edu/ark:/25593/j9pmq
