36. Under the Oak, Madrid, P. 304, p. 377. 37. The Pearl, Madrid, L. 143, P. 306, p. 377. 38. Of Francis I., Louvre, L. 105, P. 312, p. 378. 39. Small Holy Family, Louvre, L. 107, P. 375, p. 377. 40. Di San Sisto, Dresden, P. 338, p. 381. 41. Del' Impannata, Florence, L. 436, P. 394, p. 376. 42. Riposo, Vienna, L. 328, P. 395, p. 378. 43. Madonna del Passeggio, London, L. 104, P 397, P. 376 41. Candelabra, Londen, P. 399, p. 376. 45. Madonna ameng Ruins, L. 125, P. 401. 46. "Ecce Agnus Dei," London, P. 403, p. 379, see L. 147. 17. Della Gatta, Naples, P. 308, p. 377. +? Raphael, in the Tribune at Florence, F. 107. words of endearment. In this picture (14), now in the possession of M. Delessert, at Paris, the Madonna is represented standing in the three following she is sitting. In one, the infant Christ looks out of the picture; he sits on the Madonna's lap and holds by the bosom of her dress. The most simple of these is a small picture originally in the Orleans Gallery, and which was some years ago in the possession of M. Neuwenhuys, of London. In the highly executed but very spirited picture from the Colonna palace (20) at Rome, and now in the Berlin Museum, the same childlike sportiveness, the same maternal tenderness, are developed with more harmonious refinement. The third, in the possession of Earl Cowper, at Panshanger (19), and inscribed with the year 1508, borders on mannerism in the forward boyish expression of the Child; the countenance of the Madonna is, however, extremely sweet.' The fine composition of the Madonna with the Pink (16), the original of which is not known, belongs also, doubtless, to this Florentine time. The Virgin is holding the Child upon her lap, who is in lively action, and reaches gaily towards the pink, which she is giving to him. In the background is a window through which we see into the open air. A school picture of this subject was in the possession of the Cav. Camuccini -an excellent, but apparently free repetition, probably by Sassoferrato, is in the collection of Herr Mäglin at Basle. A larger representation of a Holy Family (15), belonging to the middle time of Raphael's Florentine period, is in the Munich Gallery. In the composition of this picture we observe a particular study of artificial grouping. On one side of the picture the Madonna, half kneeling, half sitting, leans over toward the other figures; before her is the infant Christ on the other side is Elizabeth in a similar attitude, and before her the little St. John: behind the women stands Joseph; thus completing the group in a strictly pyramidal shape. Although this disposition appears somewhat formal, 1 [Another Madonna and Child, of an earlier date (perhaps 1505), is in the same collection. See Passavant, Rafael von Urbino, ii. 37.-ED.] 2 This extreme regularity may have been less perceptible before two groups of infant angels' heads in the upper part of the picture were removed, after having been spoilt by a so-called restoration in the Düsseldorf Gallery. In the Corsini Palace at Rome there is a Holy Family attributed to Fra Barto |