Academy. BOLOGNA. 56*. Route. 403
William of Aquitaine receiving the robe of the order from St. Félix ;
43. Lod. Carracci, Transflguration; 206. Domenichino, Martyrdom
of St. Agnes; 36. Ann. Carracci, Madonna on clouds, with SS.
Louis, Alexis, John the Baptist, Francis, Clara, and Catharine;
35. Ag. Carracci, Assumption; 47. Lod. Carracci, Conversión of
Paul; 13. Guercino, St. Bruno and another Carthusian worshipping
the Virgin in the desert; 55. Giac. Cavedone, Madonna on clouds,
with saints; Lod. Carracci, 48. Madonna with SS. Jerome and
Francis, 45. Birth of the Baptist; 34. Ag. Carracci, Communion
of St. Jerome; Domenichino, 207. Madonna of the Rosary, 208.
Death of St. Peter Martyr.
Room C (Sala del Tiarini) contains works by the Procaccini
(p. 133), and by Pellegrino Tibaldi, Al. Tiarini (182. Descent from
the Cross), and other Bolognese contemporaries of the Carracci.
Room D (Sala di Raffaello). To the right: 210. Studio-copy of
Raphael's Youthful St. John (p. 492); 116. Parmigianino, Madonna,
with SS. Margaret, Jerome, and Augustine.
**152. Raphael, St. Cecilia surrounded by four other saints,
ordered in 1513 by Cardinal Lorenzo Pucci for the church of San
Giovanni in Monte (p. 398), but probably not painted before 1615.
It was at Paris from 1796 to 1815, where it was transferred from
panel to canvas, being much 'restored' in the process.
'The youthful and beautiful patrón 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 continué it in song. Raphael's painting depicts the impresaion
produced by the celestial music. Tho saints on earth are silent in pre¬
sence of the heavenly choir. St. Cecilia lets her hands rest mechanically
upon the organ, but, with head and eyes turned upwards, listens entranced
to the song. St. Paul, to her left, is differently affected. Snnk in deep
meditation, he also seems completely oblivious of the actual world. In
pleasing contrast to these two figures, Mary Magdalen, who stands on the
right of St. Cecilia and holds a box of ointment in her hand, ahows her
delight aimply and openly: ... In the second line stand SS. John the
Evangelist and Auguatine (or Petroniua?). ... A crowning touch ia added
to the careful distribution of the figures and well-balanced discrimination
of expreaaion 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 hia mantle, relieved by the green under-garment; the Magdalen'a dress
is of a violet colour. The toning down and blending of the ground-tints
ia effected through the two sainta in the background, who thus fulfill the
same function in regard to the colouring that they do with respect to the ex¬
pression and composition'. — Prof. A. Springer'síRaffael und Michelangelo'.
89. Innoc. da Imola, St. Miehael; 198. Giorgio Vasari, Banquet
of Gregory I. (1540); *197. Pietro Perugino, Madonna in glory,
with SS. Miehael, John, Catharine, and Apollonia; 61. Cima da
Conegliano, Madonna (in an oíd frame).
Room E (Sala del Francia), with important works by Francesco
Francia (p. 389): 371. Annunciation, with SS. John the Evangelist,
Francis, George, and Bernard (1500) ; 499. Madonna and St. Fran¬
cis of Assisi; 83. Christ mourned over by angels; 586. Two niello