Volltext Seite (XML)
254 THE FIFTEENTH CENTURY. Chap. VII. Dresden. Museum. No. 22. Head of a young S. Crispinus; rude work in the style of Melanzio. Dresden. Museum. No. 23. S. Roch, a pretty little thing, but not by Perugino. Berlin. Museum,- No. 146. Wood, oil. The Virgin enthroned with the child in benediction, between SS. James the less and Anthony the hermit, Francis and Bruno. Perugino’s design and type by some one in the shop, perhaps by Tiberio d’ Assisi. The colour is dull and hard. Berlin. Museum. No. 140. Round of the Virgin and child, between two angels, by an imitator of Fiorenzo di Lorenzo. Berlin. Museum. No. 138. Round. Nativity, better than No. 140, but raw and poor; of Perugino’s school. Munich. Pinakolhek. Cabinets. No. 681. Tempera, wood, called Raphael. Baptism of Christ, usual arrangement, much injured and repainted. Amongst the drawings in the Stmdel collection at Frank fort, there is one of the Baptism of Christ, with an angel at each side. This drawing is assigned to Pietro Perugino. It differs some what from the picture at Munich. On the back of this drawing is a S. Martin dividing his cloak and giving it to the beggar (the latter wears the horns of Satan). These figures are drawn like tlio3e of Raphael in his youth, to whom Passavant would give them. There is no ground in this for attributing to Raphael the Munich Baptism which is clearly by Perugino. Purchased from the Inghirami heirs at Volterra and transferred, in 1818, to Ludwig I. of Bavaria. Munich. Pinakolhek. Cabinets. No. 593, so-called Raphael. The resurrection. The Saviour rises from the tomb (Vatican and Mr. Barker’s predella). To the right the soldier runs away. In.the foreground, right, the sleeping guard, on the border of his shield twice repeated: “Rafae Santius”. This inscription is of doubtful originality, the piece being much injured and restored. The sleep ing soldier to the left is the same as in the Barker predella. The signature of Raphael even though considered genuine by Passavant (Raphael vol. I. p. G4) cannot be sustained, the panel being ob viously Perugino’s. Munich. Pinakolhek. Saal. No. 390. Wood, oil. The Virgin, life size, stands between SS. John Evangelist and Nicholas, in rear of the infant who lies on the middle of the foreground; fine, very de votional, and of bright transparent flesh tone. The child very plump, purchased in Paris, in 1815. Munich. Pinakothek. Saal. No. 550. The Virgin and child, wood, oil, much damaged by cleaning. Disagreable mask of the Virgin,
