when that school was under his direct superintendence, and when it was enabled to imitate his finer characteristics in a remarkable degree.

In this class we must include the Vierge aux Candélabres (44), where the Madonna is seated, with an angel bearing a torch on each side. This circular picture was sold in England by the Duke of Lucca, with other treasures of art, in 1840.'

The Madonna dell' Impannata (41), in the Pitti Palace at Florence, shows only the technical stamp of his school. The two holy women who pay homage to the Child are very beautiful; the little St. John, on the contrary, who sits in the foreground, and points to Christ, wants the easy naïveté of Raphael. The Child is, however, softly and delicately painted; and here, it is probable, the master himself assisted. This picture, which is arranged more as an altar-piece than Raphael's other Holy Families, takes its name from the oiledpaper window in the background.

The Madonna del Passeggio (43), in the Bridgewater gallery, formerly in the Orleans gallery, and yet earlier in that of Christina of Sweden, appears to have been painted by Francesco Penni. It represents the Madonna and Child walking in a landscape, and the little St. John about to kiss his playfellow. The children are peculiarly graceful, almost in Raphael's Florentine manner; but the drapery of the Madonna is heavy, and resembles the works of later artists. There are several repetitions in the Museum of Naples and elsewhere.

In all these Holy Families of Raphael's later period, whatever part he may or may not have taken in their execution, there appears a pervading character of grand ideal beauty, which, as before remarked, is common to the other works of art of this age. We no longer perceive the tender enthusiasm, the earnestness and fervour of youth; but, in their stead, a cheerful, tranquil enjoyment of life, ennobled by the purest feeling. They are not, however, glorified, holy forms, which impel us to adore; they rather show us the most interesting moments of domestic life, the accidental reunions in a family, when the sports of graceful children attract the delighted

1 [Now in the possession of Mr. Munro.-ED.]

observation of parents. The greater number of these pictures consist of four figures-the Madonna, the two Children, and either Elizabeth or Joseph. Among those pictures in which Elizabeth shares the mother's joy are the following:

The Holy Family, known by the name of "the Pearl" (37), in the gallery at Madrid: the most important, and, in composition, unquestionably the finest of Raphael's Holy Families. The figures, arranged in perfect harmony, form a beautiful group :—the infant Christ sits on the Madonna's knee, resting one foot on a cradle, in the foreground; John brings fruits in his panther's skin. Philip IV. of Spain, who had purchased the picture from the gallery of Charles I., is said to have exclaimed on seeing it, "This is my pearl!"—hence its name. Giulio Romano probably assisted much in the execution.

A small Holy Family in the Louvre (39). The infant Christ stands on a cradle caressing St. John. The execution is attributed sometimes to Giulio Romano, sometimes to Garofalo.

1

The so-called "Madonna col divino amore" (32), in the Museum of Naples. The Child, seated on the Virgin's lap, is blessing the Baptist, while Elizabeth supports his little arm. The execution is attributed by some to Giulio Romano, but it betrays more of Raphael's own hand than most of his later works.

The Madonna della Gatta (47), in the Museum at Naples, may also be mentioned here. It was executed by Giulio Romano after Raphael's "Pearl." It is a beautiful domestic scene, and excellently composed; but the scholar's different mind shows itself in the prominence of the accessories, in the more violent action of the Child, in the incomparably less depth and purity of expression, and in the heavy, dark shadows.

Among the pictures in which Joseph completes the group are several in the Museum at Madrid, particularly La Madonna della Lucertola (36), so called because a lizard is introduced

1 According to Passavant, vol. i. p. 187, painted as early as 1512, which we are much inclined to doubt.

2

[No lizard appears in the original picture at Madrid, though one is introduced in the copy in the Pitti Palace: hence the "Holy Family under the Oak" is the better appellation.-ED.]

in the picture, which is better known as "the Holy Family under the Oak," painted about 1517. Joseph leans on an antique architectural ruin; the young Christ turns to John, who holds up to him a strip of parchment with the words “Eccė Agnus Dei!" The execution is attributed to Giulio Romano. A repetition, marked as a copy by Giulio Romano is in the Pitti Palace at Florence. It is hard and cold. A composition, in which the children hold a similar piece of parchment with upraised hands, appears to have been frequently repeated by Raphael's scholars. One of them is at Stratton, the seat of Sir Thomas Baring; another is in the possession of Mr. Munro, in London (46), formerly in that of M. Nieuwenhuys; a third in the sacristy of the Escurial.

A Repose in Egypt (42) is in the Imperial gallery at Vienna. The Madonna, kneeling, holds the Child in her arms; St. John also kneels, and presents fruits; Joseph, leading an ass by the bridle, is in the act of raising St. John. The picture is freely and boldly painted. The Child is extremely beautiful, as is also the head of the Baptist.

Lastly, the large picture of a Holy Family (38), in the Louvre, painted by Raphael in 1518 for Francis I., is peculiarly excellent. The Madonna kneels to take up the Child, who springs joyfully out of the cradle; Elizabeth kneels also and folds the hands of the little St. John; Joseph, in the background, is in calm contemplation. At the side are two angels; one strews flowers over the Child, the other crosses his hands on his breast. The whole has a character of cheerfulness and joy: an easy and delicate play of graceful lines and the noblest forms, which unite in an intelligible and harmonious whole. Giulio Romano assisted in the execution.

To this cycle of Holy Families may be added the Visitation (of Mary to Elizabeth), now in Spain. The heads are very beautiful-Mary's full of the most graceful innocence and humility. On the other hand, the drawing of the draperies and figures appears to be less excellent. Chiefly executed by Giulio Romano.

A similar character pervades the larger compositions of this later period, which represent the Madonna as queen of

heaven, though their destination as altar-pieces naturally causes the religious character to predominate. With regard to these compositions, in which several Saints are assembled round the Madonna, it is to be observed, that, although these holy personages were brought together arbitrarily (for various accidental reasons), yet Raphael has contrived to place them in reciprocal relation to each other, and to establish a connexion between them; while the earlier masters either ranged them next to one another, in simple symmetrical repose, or with equal caprice disposed them in all kinds of attitudes, with a view to picturesque effect. Raphael has left three large altar-pictures of this kind, which are interesting examples of his various conceptions of the Madonna.

name.

Of these the Madonna di Fuligno (29) (also called La Vierge au Donataire), in the Vatican, is the earliest, and of about the same date as the Stanza della Segnatura, namely, about 1511. It was originally ordered for the church of Ara Coeli in Rome, by one of the court of Julius II., Gismondo Conti, but was afterwards transferred to Fuligno: hence its In the upper part of the picture is the Madonna with the Child, enthroned on the clouds in a glory, surrounded by angels. Underneath, on one side, kneels the donor, raising his folded hands to the Virgin; behind him stands St. Jerome, who recommends him to her care. On the other side is St. Francis, also kneeling and looking upward, while he points with one hand out of the picture to the people, for whom he entreats the protection of the Mother of Grace; behind him is John the Baptist, who points to the Madonna, while he looks at the spectator as if inviting the latter to pay her homage. The relation between the picture and the community of believers, expressed by the last two figures, appears from this time variously modified in the altar-pieces of the Catholic church. Between the two groups stands an angel holding a tablet, intended for an inscription. In the distance is a city, on which falls a meteor; above it is a rainbow, no doubt in allusion to some danger and miraculous preservation, in remembrance of which the picture was dedicated.'

1 [Providential escapes, victories, and successes were among the most frequent occasions of what are called votive pictures. In these compositions

This work, however beautiful in the whole arrangement, however excellent in the execution of separate parts, appears to belong only to a transition-state of development. There is something of the ecstatic enthusiasm which has produced such peculiar conceptions and treatment of religious subjects in other artists-Correggio, for example-and which, so far from harmonizing with the unaffected, serene grace of Raphael, has in this instance led to some serious defects. This remark is particularly applicable to the figures of St. John and St. Francis: the former looks out of the picture with a fantastic action, and the drawing of his arm is even considerably mannered. St. Francis has an expression of fanatical ecstacy, and his countenance is strikingly weak in the painting (composed of reddish, yellowish, and grey tones, which cannot be wholly ascribed to the restorer). Again, St. Jerome looks up with a sort of fretful expression, in which it is difficult to recognise, as some do, a mournful resignation; there is also an exaggerated style of drawing in the eyes, which sometimes gives a sharpness to the expression of Raphael's figures, and appears very marked in some of his other pictures. Lastly, the Madonna and the Child, who turn to the donor, are in attitudes which, however graceful, are not perhaps sufficiently tranquil for the majesty of the queen of heaven.1 The expression of the Madonna's countenance is extremely sweet, but with more of the character of a mere woman than of a glorified being. The figure of the donor, on the other hand, is excellent, with an expression of sincerity and truth; the angel with the tablet is of unspeakable intensity and exquisite beauty-one of the most marvellous figures that Raphael has created.

The second of these pictures, the Madonna del Pesce (33),

the Madonna and Child are generally represented surrounded by Saints, the latter being selected for various reasons, according to the taste or devotion of the proprietor of the picture. The donor is frequently introduced kneeling, sometimes alone, sometimes with his family, and in many cases a patron saint recommends the votaries. The ultimate intercession of the Madonna is, however, distinctly intimated by her appearing in the character of the "Mater Dei." When she is represented alone, her action is more directly that of a suppliant.-ED.]

[This is one of the instances in which the severity of the author's criticism is unsupported by high authorities.-ED.]