320 Route 47. BOLOGNA. Academy.
painted on silk in 1630 (as a procession-flag); *13. Guercino, St.
Bruno and another Carthusian worshipping the Virgin in the
desert; *137. G. Reni, Samson, victorious over the Philistines,
drinking out of the jaw-bone of an ass ; 12. Guercino, William
of Aquitaine receiving the robe of the Order of St. Felix ; *136.
G. Reni, Crucifixion ('Cristo dei Cappuccini', the high-altar of
whose church it formerly adorned); 208. Domenichino, Death of
Peter Martyr; *134. G. Reni, Madonna della Pieta, below are
SS. Petronius, Carlo Borromeo, Dominic, Francis, and Proculus
(painted in 1616 for the Town Council, who presented the painter
with a valuable gold chain and medal, in addition to his remune¬
ration); 141. G. Reni, Madonna enthroned; 140. G. Reni, St. Se¬
bastian ; *139. Gr. Reni, St. Andrea Corsini.
Room F: 371. Fr. Francia, Madonna and saints, with the In¬
fant Christ above in the 'mandorla'; *84. Giac. Francia, Madonna
and four saints, 1526; 122. Niccolb da Cremona, Entombment;
*78. Francesco Francia, Madonna and Child, four saints, angels,
and the donor (1494); *197. P. Perugino, Madonna in gloria, with
the archangel Michael, SS. John, Catharine, and Apollonia; 79.
Fr. Francia, Madonna with John the Baptist, St. Jerome, and
angels ; *204. Timoteo della Vite, Mary Magdalene ; *90. Innocenzo
da Imola, Holy Family and two donors ; 89. Innocenzo da Imola,
Archangel Michael subduing the dragon; 198. Vasari, Banquet of
Gregory I., 1540; 80. Fr. Francia, Madonna enthroned, with SS.
John the Baptist, Stephen, George, and Augustine; 210. Old copy
from Raphael, Young St. John (a replica of the same in the Uffizi
at Florence).
**152. Raphael, St. Cecilia surrounded by four other saints,
painted in 1513 on the commission of Cardinal Lorenzo Pucci for
the church of S. Giovanni in Monte (p. 316). It was at Paris from
1796 to 1815.
'The youthful and beautiful patron saint of music has just ceased
playing the organ to her friends, and a heavenly echo falls upon their
ears. Six angels, resting on the edge of a cloud, have caught up the melody
and continue it by singing. Raphael's painting depicts the impression
produced by the celestial music. The saints on earth are silent in pre¬
sence of the heavenly choir. St. Cecilia lets her hands rest mechanically
upon the organ, but, with bead and eyes turned upwards, listens entranced
to the song. St. Paul, to her left, is differently affected. Sunk in deep
meditation, he also seems completely oblivious of the actual world. In
pleasing contrast to these two figures, Mary Magdalene, who stands on the
right of St. Cecilia and holds a box of ointment in her hand, shows her
delight simply and openly. ... In the second line stand SS. John the
Evangelist and Augustine (or Petronius?). ... A crowning touch is added
to the careful distribution of the figures and well-balanced discrimination
of expression by the harmonious arrangement of the colours. The strongest
and most intense tone is afforded by the yellow tunic of St. Cecilia,
embroidered with gold; in the St. Paul the predominant tint is the red
of his mantle, relieved by the green under-garment; the Magdalene's dress
is of a violet colour. The toning down and blending of the ground-tints
is effected through the two saints in the background, who thus fulfill the
same function in regard to the colouring that they do with respect to the
expression and composition' ~ ' ' . ' '. d Michelangelo\
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