Walks in Rome - Augustus J. C. Hare

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that the result would have been the same had these figures been carrying a sack of sand. Here, from the youth of the figure, the bearer at the feet appears to be St. John."—Lady Eastlake.

      40. Holy Family: Fra Bartolomeo. 43. Madonna: Fr. Francia. 44. Madonna: Sodoma. 51. St. Stephen: Francesco Francia.* 59. Adoration of the Magi: Mazzolino. 60. Presepio: Garofalo. 65. The Fornarina: Copy of Raphael, Giulio Romano? 69. St. John Baptist in the Wilderness: Giulio Romano.

      3rd Room.—Chiefly of the school of Andrea del Sarto. (The works of this painter are often confounded with those of his disciple, Domenico Puligo.)

      1. Christ bearing the Cross: Andrea Solario. 2. Portrait: Parmigianino. 5. 'Noli me tangere': Bronzino? 11. The Sorceress Circe: Dosso Dossi. 13. Mater Dolorosa: Solario? 22. Holy Family: School of Raphael. 24. Madonna and Child with three children: A. del Sarto. 28. Madonna, Child, and St. John: A. del Sarto. 29. Madonna, Child, St. John, and St. Elizabeth: Pierino del Vaga. 33. Holy Family: Pierino del Vaga. 35. Venus and Cupids: A. del Sarto. 40. Danae: Correggio.*

      In the corner of this picture are the celebrated Cupids sharpening an arrow.

      42. Cosmo de' Medici: Bronzino. 46. The Reading Magdalene: School of Correggio. 47. Holy Family: Pomarancio. 48. The Flagellation: Sebastian del Piombo.* 49. St. M. Magdalene: A. del Sarto.

      4th Room.—Bolognese school.

      1. Entombment: Ann. Carracci. 2. Cumæan Sibyl: Domenichino.* 18. St. Francis: Cigoli. 20. St. Joseph: Guido Reni. 23. St. Francis: Ann. Carracci. 29. St. Domenic: Ann. Carracci. 36. Madonna: Carlo Dolce. 37. Mater Dolorosa: Carlo Dolce. 38, 41. Two heads for an Annunciation: Furino. 42. Head of Christ: Carlo Dolce. 43. Madonna: Sassoferrato.

      5th Room.— 11, 12, 13, 14. The Four Seasons: Fr. Albani.

      "The Seasons, by Francesco Albani, were, beyond all others, my favourite pieces; the beautiful, joyous, angel-children—the Loves, were as if creations of my own dreams. How deliciously they were staggering about in the picture of Spring! A crowd of them were sharpening arrows, whilst one of them turned round the great grindstone, and two others, floating above, poured water upon it. In Summer, they flew about among the tree-branches, which were loaded with fruit, which they plucked; they swam in the fresh water, and played with it. Autumn brought the pleasures of the chase. Cupid sits, with a torch in his hand, in his little chariot, which two of his companions draw; while Love beckons to the brisk hunter, and shows him the place where they can rest themselves side by side. Winter has lulled all the little ones to sleep; soundly and fast they lie slumbering around. The Nymphs steal their quivers and arrows, which they throw on the fire, that there may be an end of the dangerous weapons."—Andersen, in The Improvisatore.

      15. La Caccia di Diana: Domenichino. 25. The Deposition, with Angels: F. Zuccari.

      6th Room.— 5. Return of the Prodigal Son: Guercino. 7. Portrait of G. Ghislieri: Pietro da Cortona. 10. St. Stanislaus with the Child Jesus: Ribera.* 12. Joseph Interpreting the Dreams in Prison: Valentin. 13. The Three Ages of Man. Copy from Titian by Sassoferrato.[6] 18. Madonna: Sassoferrato. 22. Flight of Æneas from Troy: Baroccio.

      7th Room.—Richly decorated with mirrors, painted with Cupids by Girofiri, and wreaths of flowers by Mario di Fiori.

      8th Room.—Contains nothing of importance, except a mosaic portrait of Paul V. by Marcello Provenzali.

      9th Room.—Containing several interesting frescoes.

      1. The Nuptials of Alexander and Roxana.

       2. The Nuptials of Vertumnus and Pomona.

       3. 'Il Bersaglio dei Dei.'

      These three frescoes were brought hither from the Casino of Raphael, in the Villa Borghese (destroyed in the siege of Rome in 1849), and are supposed to have been painted by some of Raphael's pupils from his designs. The other frescoes in this room are by Giulio Romano, and were removed from the Villa Lante, when it was turned into a convent.

      10th Room.— 2. Cupid blindfolded by Venus: Titian. 4. Judith: School of Titian. 9. Portrait: Pordenone. 13. David with the head of Goliath: Giorgione.* 14. St. John the Baptist preaching (unfinished): Paul Veronese. 16. St. Domenic: Titian. 19. Portrait: Giac. Bassano. 21. 'Sacred and Profane Love': Titian.*

      "Out of Venice there is nothing of Titian's to compare to his Sacred and Profane Love. It represents two figures: one, a heavenly and youthful form, unclothed, except with a light drapery; the other, a lovely female, dressed in the most splendid attire; both are sitting on the brink of a well, into which a little winged Love is groping, apparently to find his lost dart. … Description can give no idea of the consummate beauty of this composition. It has all Titian's matchless warmth of colouring, with a correctness of design no other painter of the Venetian school ever attained. It is nature, but not individual nature: it is ideal beauty in all its perfection, and breathing life in all its truth, that we behold."—Eaton's Rome.

      "Two female forms are seated on the edge of a sarcophagus-shaped fountain, the one in a rich Venetian costume, with gloves, flowers in her hands, and a plucked rose beside her, is in deep meditation, as if solving some difficult question. The other is unclothed; a red drapery is falling behind her, while she exhibits a form of the utmost beauty and delicacy; she is turning towards the other figure with the sweetest persuasiveness of expression. A Cupid is playing in the fountain; in the distance is a rich, glowing landscape."—Kugler.

      30. Madonna: Giov. Bellini. 34. St. Cosmo and Damian: Venetian School.

      11th Room.—Veronese school. 1. Madonna with Adam (?) and St. Augustine: Lorenzo Lotto, MDVIII. 2. St. Anthony preaching to the Fishes: P. Veronese? 3. Madonna: Titian? 11. Venus and Cupid on Dolphins: Luc. Cambiaso. 14. Last Supper: And. Schiavone. 15. Christ and the Mother of Zebedee's Children: Bonifazio.* 16. Return of the Prodigal Son: Bonifazio.* 17. Samson: Titian. 18. Christ and the Woman taken in Adultery: Bonifazio. 19. Madonna and Saints: Palma Vecchio.

      In this picture the donors are introduced—the head of the man is grandly devout and beautiful.

      25. Portrait of Himself: Titian? 27. Portrait: Giov. Bellini. 31. Madonna and St. Peter: Giov. Bellini. 32. Holy Family: Palma Vecchio. 33. Portrait of the Family of Licini da Pordenone: Bart. Licini da Pordenone.

      12th Room.—Dutch and German school. 1. Crucifixion: Vandyke. 7. Entombment: Vandyke. 8. Tavern Scene: Teniers. 9. Interior: Brouerer. 19. Louis VI. of Bavaria: Albert Dürer? 21. Portrait: Holbein. 21. Landscape and Horses: Wouvermann. 22. Cattle-piece: Paul Potter. 24. Portrait: Holbein. 26. Skating (in brown): Berghem. 27. Portrait: Vandyke. 35. Portrait: Lucas von Leyden? 44. Venus and Cupid: Lucas Cranach.

      The Palazzetto Borghese on the opposite side of the piazza, originally intended as a dower-house for the family, is now let in apartments. It is this house which is described as the "Palazzo Clementi," in Mademoiselle Mori.

      At the corner of the Via Fontanella and the Corso is the handsome Palazzo Ruspoli, built by Ammanati in 1586. It has a grand white marble staircase erected by Lunghi in 1750. Beyond this are the palaces Fiano, Verospi, and Teodoli.

      "Les palais de Rome, bien que n'ayant pas un caractère original comme ceux de Florence ou de Venise n'en sont pas moins cependant un des traits de la ville des papes. Ils n'appartiennent ni au moyen age, ni à la renaissance (la Palais de Venise seul rappelle les constructions massives de Florence); ils sont des modèles d'architecture civile moderne. Les Bramante, les Sangallo, les Balthazar Peruzzi, qui les ont batis, sont des maîtres

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