148
14. NATIONAL GALLERY.
Christ and the Disciples on the way to Emmaus, freely handled.
— *288. Perugino, Aladonna adoring the Infant, the archangels
Michael and Raphael with Tobias.
'The composition of the whole group is full of merit, the type of the
Virgin's face nearer perfection than any that the master ever realized.'
— C. .{■ C.
'The truly Raphaelesque feeling which pervades every part, and the more
accurate study of nature, which is especially remarkable in the hands,
have often given rise to the opinion that Raphael must have assisted his
master to a considerable extent in this work'. — Passavant, 'Rafael d'Urbin'.
*629. Lorenzo Costa (early school of Ferrara, contemporary of
Francia; d. 1535), Madonna enthroned, dated 1505.
-Neatly arranged, graceful in the movements of the personages, and
lively in colour'. — C. & C.
*274. A. Mantegna, Virgin and Child enthroned, St. John the
Baptist and the Magdalene, pale in colouring; 286. Francesco Tac-
coni (early school of Cremona), Same subject, dated 1489.
*296. A. Pollajuolo ('?), Virgin adoring the Infant Christ.
' 'Repeated examination only seems to confirm the belief that the
Virgin and Child between two attendant angels, a beautiful tempera,
ascribed to Ghirlandajo or Antonio Pollajuolo, may have been executed
in the shop of Verrocchio, when Leonardo and Credi were employed
there ; its tone, its clean precision and staid carefulness of handling, the
softness of the heads, and the Leonardesque character of the angels, the
infant Christ stamped in the mould of Credi, all tending to strengthen
this impression'. — C. d- C.
282. Lo Spagna (?), Madonna and Child enthroned, surrounded
by angels, a very pleasing group; 806. Boccaccio Boccaccino (Cre¬
mona, d. after 1518), Procession to Calvary.
*293. Filippino Lippi, Madonna enthroned, with SS. Jerome
and Dominic adoring the Infant (below, a predella).
■The action is bold and resolute. The colour is entire and bright,
and the landscape splendid'. — C. t(- C.
895. Lorenzo Costa (?), Portrait of the Florentine general Fran¬
cesco Ferrucci, in the background the Piazza Signoria at Florence ;
*170. Garofalo (Benvenuto Tisio, of Ferrara, a pupil of Raphael;
d. 1559), Holy Family, with a vision of God the Father (luminous
in colouring, and of the painter's best period).
*735. Paolo Morando (Cavazzola, the most important master in
Verona before Paolo Veronese ; d. 1522), St. Rochus with the angel.
An excellent specimen of his work. 'In the Madonna of the Na¬
tional Gallery particularly Morando rises above the ordinary level in
conception and arrangement, whilst keeping to his usual style in the
execution'. — C. & C.
748. Girolamo dai Libri (Verona, d. 1555), Madonna and Child,
with St. Anne; 18. School of Leonardo da. Vinci, Christ disputing
with the Doctors (there are several repetitions of this not very im¬
portant work); 700. Bernardino Lanini (Vercelli, pupil of Gau-
denzio Ferrari; d. about 1578), Holy Family, with the Magdalene,
Pope Gregory the Great, and St. Paul, dated 1543.
*734. Andrea Solario (pupil of Leonardo da Vinci at Milan, d.
after 1515), Portrait, 1505.
'A portrait of such power and finish as this, when clear of the dimness
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