542 Route 64. FLORENCE. h. Left Bank of the Arno:
his natural gifts and of where his true strength lies. This remark applies
to the small picture of Ezekiel in the Pitti Gallery, so miniature-Iike in its
fineness of execution, though less striking in the colouring. In the arrange¬
ment of the two smaller angels who support the arms of the Almighty,
the example of Miehael Angelo was followed. From the testimony of Va-
sari, however, we know that in portraying Jehovah, Raphael sought in-
spiration in the classical Júpiter, and certainly the features strongly recall
the types of the antique divinity'. — Springer.
Raphael, *61. Angiolo Doni, the friend of the painter; *59.
Maddalena Strozzi-Doni, wife of Angiolo.
These portraits were painted during the Florentine period of the artist
(about 1505). No. 61 recalls the painter's intercourse with Franc. Francia,
while the other snggests the influence of Leonardo da Vinci.
*172. A. del Sarto, Conference of the Fathers of the Church
regarding the doctrine of the Trinity(the 'Disputa'), paintedin 1517.
*171. Raphael, Tommaso Fedra Inghirami, humanist and papal
secretary (original in America).
'The fact that the man is represented at a moment of wrapt suspense
and inward concentration diverts the attention from the unpleasing fea¬
tures, and ennobles and idealises the head, which, while certainly not
handsome, cannot be denied the possession of intellect and a nameless
power of attraction'. — Springer.
*165. Raphael, Madonna del Baldacchino.
This picture dates from the period of his intercourse with Fra Bar¬
tolomeo, and was left unconipleted on the migration of the master to
Rome in 1503. It was flnally completed by Giulio Romano and others.
164. Pietro Perugino, Entombment (Pieta), painted in 1495 ;
161. Bonifazio I, Finding of Moses; *159. Fra Bartolomeo, Risen
Christ among the four Evangelists (1516; injured). — *158. Ra¬
phael, Portrait of a cardinal, said to be Card. Dovizi da Bibhiena
(copy; the original at the Prado in Madrid).
**151. Raphael, Madonna della Sedia (or Seggiola), painted
during the artist's Román period.
'In this picture Raphael returns to the early and simple subjects of
representation, breathing nothing but serene happiness, which gladden
the artist and charm the beholder, which say little and yet possess so
deep a significance. Florentine forms have been supplanted by Román
ones, and tender and clear beauty of colouring has given place to a broad
and picturesque style of laying on the pigments. . . . At least fifty en-
gravers have tried their skill upon the Madonna della Sedia, and photo-
graphic copies have been disseminated by thousands. No other picture
of Raphael is so popular, no other work of modern art so well known'. —
147. Dosso Dossi (Giorgione?), Nymph pursued by a satyr; 149.
Pontormo (more probably Ang.Bronzino?), GuidobaldoIL, Duke of
Urbino; 148. Dosso Dossi, Merry party.
Saloon of Júpiter. Ceiling-painting by Pietro da Cortona.
*18. Titian, 'La Bella di Tiziano', painted about 1536, probably the
Duchess Eleonora of Urbino, represented in No. 605 and No. 1117 in
the Ufflzi (see pp. 489, 492); **64. Fra Bartolomeo, Pietá (p. 539);
133. Salvator Rosa, Battle (the figure on the left, above the shield
with the word Saro, is the painter's portrait); 131. Tintoretto, Vin¬
cenzo Zeno. — 125. Fra Bartolomeo, St. Mark, painted under the
influence of Miehael Angelo (ca. 1515); Andrea del Sarto, *124.