. The art of the Italian renaissance; a handbook for students and travellers. Sebastiano del Piombo. RAPHAEL \:n ehararteristic of this st\lc. \\ ill lii-obvious. But the vtrv foundatioiiof this is a conco[)tioii of the(hfflity of the human fonn, to Avhich_th(^_,Yrii i thf ul—Kaphael jvas still a stranger. The DoniHi Vdiita sIioms such asurprising similarity to the Dorotlictiin composition, that we are natur-ally led to think the two picturesmay have been painted in some sortof competition. If this were so, itmight be permissi])le to couple Aviththese the Bella formerh in theSciarra collection
. The art of the Italian renaissance; a handbook for students and travellers. Sebastiano del Piombo. RAPHAEL \:n ehararteristic of this st\lc. \\ ill lii-obvious. But the vtrv foundatioiiof this is a conco[)tioii of the(hfflity of the human fonn, to Avhich_th(^_,Yrii i thf ul—Kaphael jvas still a stranger. The DoniHi Vdiita sIioms such asurprising similarity to the Dorotlictiin composition, that we are natur-ally led to think the two picturesmay have been painted in some sortof competition. If this were so, itmight be permissi])le to couple Aviththese the Bella formerh in theSciarra collection, which certainlyis an early Titian ^ and must havebeen painted about the same A\ould l)e a remarkable spectacle to see the new-born beauty of the Cin(|uecento displayed in three suchdifferent examples side In side. However, we nnist hasten from these prototypes of the Sistine Madonnato the picture itself. The road has several stages, and among the Romanaltar-pieces the .SV. CccUui has the first claim on our La Donna Valuta, by Haphacl. 7. KOMAX \r>-PICTUUES St. CecUia (Bologna Gallery). The saint is represented in the centrewith four others, St. Paul and ]\Iary ^lagdalen, a l^ishop (Andirose) andSt. John the Evangelist, not as a privileged person, not as a speciallydistinguished member of the group, but as a sister of the rest. They areall standing. She has let her organ fall, and is listening to the song ofthe angels above their heads. Imbrian harmonies are unmistakeablyre-echoed in this sympathetic figure. And yet, when we make a comparisonwith Perugino, we are astonished at Baphaers moderation. The way in 1 It is now universally ascribed to Ialma, but tbe correspondence witli tlie so-calledM(ulre<xe tie Titien in tbe Salon Carn of tbe Louvre is so evident, tbat it would beadvisable to return to tbe old name. 132 THE ART OF THE ITALIAN RENAISSANCE which the further foot is planted, and the head bent back is simpler thanPerugino would ha^e
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