f. Villa Borghese. ROME. /. TV. and E. Hills. 185
and an excellent background of landscape; and Albani's Seasons
(V, 35, 40, 44, 49) are superb decorative pictures. On the other
hand, the works of Michael\Angelo da Caravaggio, the chief of
the naturalists (XI, 110), are repulsive. The pictures by German
and Netherlandish masters are unimportant.
At the top of the staircase is a small vestibule, to the left of
which is —
Room 1 (chiefly Florentine and Lombard schools). Right wall:
424. Raphael, Madonna di Casa d'Alba, an early copy; 429. Bern.
Luini, St. Agatha, a copy; *433. Lor. di Credi, Madonna with the
flower-glass; 434. School of Leonardo da Vinci, Leda with the
swan; 435. Marco da Oggiono, Christ imparting a blessing; *439.
Style of Lor. di Credi, Holy Family; 444. Bronzino, John the Bap¬
tist. — Left wall: *459. Sodoma, Holy Family; *461. Andrea
Solario(1), Christ bearing the Cross; &&2.J!odoma, Pieta, darkened
by time. — To the left is —
Room 2. Small art objects and curiosities. Also, by the entrance:
519. View of the Villa Borghese in the 17th cent.; 527. Vanni,
Three Graces; 514. School of Leonardo da Vinci, Study of a female
head, in silver-point. Mosaics by Marcello Provenzale: 498. Ma¬
donna, 495. Portrait of Paul V. — We return to Room 1 and enter —
Room 3 (Florentine school). Entrance-wall: 318. Carlo Dolci,
Madonna; 310. Fra Bartolomeo, Mary adoring the Child; 306.
Carlo Dolci, Christ. — Right wall: 352. Florentine School, Holy
Family; 348. School of Sandro Botticelli, Madonna; *346. Sasso¬
ferrato, Copy of Titian's Three Ages (original in London); 343. Piero
di Cosimo, Madonna. — Exit-wall: 340. C. Dolci, Mater Dolorosa;
Andrea del Sarto, 334. Madonnas, 328. Mary Magdalen; 336. Bu-
giardini, Madonna. — Between the windows : 326. Lucas Cranach,
Venus and Cupid; 324. Franciabigio, Venus.
Room 4. Entrance-wall: in the centre, *369. Raphael, Entomb¬
ment, painted in 1507 for the Baglioni chapel in San Francesco de'
Conventuali in Perugia (p. 63), just before the master went to
Rome, afterwards purchased by Paul V. To the right, *376. Andrea
Sacchi, Portrait of Orazio Giustiniani; 377. Fiorenzo di Lorenzo
(perhaps a youthful effort of Pinturicchio ?), Crucifixion, with SS. Je¬
rome and Christopher. To the left: 355. Portrait of the so-called
Fornarina, a good copy of Raphael's original (p. 157), perhaps by
Sassoferrato.—Adjoining wall: Copies after Raphael, 420. John the
Baptist, 413. Julius II.; 411. VanDyck(^), Pieta; *408. Pontormo,
A cardinal. — By the first window: to the right, Perugino, 401. Ma¬
donna, 402. Mary Magdalen; to the left, *399. Timoteo Viti, Portrait
of a boy. — By the second window: to the right, *396. Antonello
da Messina, Portrait; 397. Portrait of Perugino, attributed to Ra¬
phael. — Next wall: 390. Ortolano, Pieta; 382. Sassoferrato, Ma¬
donna; 386. Perugino, St. Sebastian. — We now return to the
vestibule and enter the —