. Sacred and legendary art . dhis school. [The pic-ture is called ^LaVierge de la FamilleCasio, and is in theLouvre.] 3. Perugino. Thesaint, in red drapery,holds in one hand the palm, in the other three arrows. (Peru-gia, San Pietro.) Another, in which he is standing undraped,except that around his loins there is an embroidered scarf;his hands are bound behind him; he is transfixed by threearrows, and looking up with the usual enthusiastic expression,his long hair floating in curls upon his shoulders. (Florence,Ufiizi.) Another, in which he kneels before the Virgin; inred drapery, transfixed b
. Sacred and legendary art . dhis school. [The pic-ture is called ^LaVierge de la FamilleCasio, and is in theLouvre.] 3. Perugino. Thesaint, in red drapery,holds in one hand the palm, in the other three arrows. (Peru-gia, San Pietro.) Another, in which he is standing undraped,except that around his loins there is an embroidered scarf;his hands are bound behind him; he is transfixed by threearrows, and looking up with the usual enthusiastic expression,his long hair floating in curls upon his shoulders. (Florence,Ufiizi.) Another, in which he kneels before the Virgin; inred drapery, transfixed by a single arrow. (Perugia, St. Agos-tino.) 4. Matteo da Siena. He stands on one side of the Madonna,covered with wounds, but not transfixed by arrows. In onehand a single arrow and a palm, in the other a martyrs head extremely fine. (Academy, Siena.) 5. A. Mantegna. He is bound to a pillar near a ruinedtriumphal arch. The ruined arch and the ruined temples,sometimes strewed round St. Sebastian, may signify the de-. St. Sebastian (Albert Diirer) ST. SEBASTIAN 411 struction of the heathen powers ; otherwise, and in the histor-ical representations, it is an anachronism. The Palatine wasstill in all its glory when Sebastian suffered. (Vienna Gallery.) 6. Giorgione. He is standing, bound to an orange-tree,with his arms bound above his head; the dark eyes raisedtowards heaven. His helmet and armor lie at his feet; hismilitary mantle of green, embroidered with gold, is thrownround him. This picture,with the deep blue skyand the deep green fo-liage, struck me as oneof the most solemn ef-fects ever produced byfeeling and color. Heis neither wounded nortranspierced. On seeingthis fine picture nearerin 1855, I was convincedthat it is not by Gior-gione, or has been merci-lessly cleaned. (Milan,Brera.) [It is assignedby Morelli to DossoDossi, and is now socatalogued, 1892.] 7. Titian. Bound to atree; head declined, andthe long hair fallingpartly over the face;very fine and pathet
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