308 THE FIFTEENTH CENTURY. Chap. IX. with Raphael’s spirit that the picture bears his name. * 1 The Saviour, indeed, is full of tender resignation; the touch is exquisite, the colour warm and pleasing, the landscape bright. The whole is worthy of Raphael, yet really by Spagna imitating Sanzio. The type and forms are less select and grand, the pose less simple and natural than Raphael’s. The figure betrays an overstudied ele gance, and the drapery an unnecessary repetition of folds in one direction. The colour is more remarkable for soft ness than force, more careful than bold and masterly. That which in Raphael is a natural gift, the undefinable something which gives its charm to everything he does, is wanting. 2 » Mr. Fuller Maitland’s collection is enriched with another attractive specimen of Spagna’s imitative capacity; an adaptation on a small scale of Perugino’s Christ on the Mount, 3 with the Redeemer in profile, the three sleeping apostles in the foreground slightly changed in attitude, the angel sent back into the distance, and the soldiers in rear in quiet' action. Raphael is also credited with this picture. It has not, however, the ease and unstrained action, the sweetness and freshness, the charm of life which please in Sanzio even when his figures are least happy in proportions or general aspect. Nor is the co lour in Mr. Maitland’s panel treated with the great master’s accustomed ease, or bright with his vivid and transparent tone. It has not the pure harmonic chord which vibrates to the depths of the spectator’s heart. The difference between this Christ at the Mount and one that Raphael might have produced, is that which must always * No. 61. The catalogue of Staf ford House contains a statement that the picture was formerly in the Riecardi (Medici) Palace in Florence, and that it was originally painted for the private chapel of Giovanni de’Medici, w.lio was after wards Leo the X th . An elaborate yellow grey monochrome ornament gives richness to the small pilaster framing (wood, oil). 1 On the other hand we see the same stamp of art here as in the saints at Dudley House known to be by Spagna. 3 Academy of Arts at Florence No. 53. See antea p. 200.
