184 I. TV. and E. Hills. ROME. f. Villa Borghese.
tains, however, some admirable works of the end of the century, such
as Lorenzo di Credi's Madonna with the flower-glass (I. Room, No. 433),
and the Holy Family (I, 439) by a not yet fully identified master. —
The Milanese School of Leonardo da Vinci has numerous re¬
presentatives, though the authenticity of most of the examples may
De doubted. The best are Christ imparting his blessing, a small work
by Marco da Oggiono (I, 435), and Christ bearing the Cross, by
Solario (I, 461). — Anions painters of the older North Italian
School, Francesco Francia enjoys a high reputation, and his claim
to it is amply vindicated by his St. Stephen (V, 65), a small
kneeling figure in the red robe of a deacon.
Among the works ascribed to Raphael, the Entombment (IV,
369) alone is authentic. The picture is not well preserved, and
is perhaps not entirely by Raphael's own hand. The impression
produced by it is disappointing, the composition seems too studied,
and the colouring cold (p. lxix). The predelle belonging to it are
in the Vatican (p. 331). The Fornarina (IV, 355), the Madonna
d'Alba (I, 424) and the Pope Julius II. (IV, 413) are copies. The
IX. Room contains several Frescoes transferred hither from the so-
called Villa of Raphael (p. 181), and ascribed to that master; but they
are unlike his workmanship, both in composition and execution.
The School or Ferrara of the 16th cent, is copiously and
well represented (Room VII). A fine example of Mazzolino's rich¬
ness of colouring is his Adoration of the Magi (VII, 218). Dosso
Dossi's Circe (VII, 217) conducts us into a world of fancy, similar
to that depicted by Ariosto in his Orlando. Lastly there are sev¬
eral excellent works by Garofalo, the Raphael of Ferrara.
The Colourists of the 16th Cent, will not fail to attract the
visitor. To Sodoma the gallery is indebted for a Pieta (I, 462) and
a Holy Family (I, 459), in which the head of the Madonna is radiant
with beauty. An important work by Correggio, acquired in 1824,
represents Danae with Cupids sharpening their arrows (X, 125).
The figure of Danae is rather graceful than strictly beautiful, but
the Cupids are very charming, and the chiaroscuro masterly. —
A room is devoted to the Venetian School. Titian's so-called
Earthly and Heavenly Love (XI, 14?) is one of those creations
that produce an indelible impression on the beholder. The picture
rivets the attention like a poetical dream, and after the eye has
feasted on the charms of the colouring the composition still
captivates the imagination. The Arming of Cupid (XI, 170) is
one of the finest mythological works by the same master. Boni-
fazio is another master affording examples of the richness of col¬
ouring of the Venetian School (XI, 186, being the finest).
As is generally the case in the Roman galleries, the painters
of the later revival of art, the Adherents of the Carracci and
the Naturalists, figure very numerously here. Domenichino's
Diana (V, 53) contains a number of nymphs with lifelike heads,