SALA DI SATURNO.
179
which was intended for the SS. Annunziata of Florence. In His
eft hand the Saviour holds the sceptre, with the globe sur-
mnounted by the cross, and He raises His right to bless. His
countenance is mild and noble, His attitude dignified, and the
lowing lines of His white drapery add to the majesty of His
ippearance. With the exception of a defect in the right arm,
he drawing is very fine. The arm of St. Matthew is boldly fore¬
hortened ; St. John is beside him ; St. Luke and St. Mark are
on the other side ; all four are powerful figures ; the draperies are
grandly composed, and we may perceive in them the example
Raffaelle followed in his later works. The two little angels
pelow, who support a picture of the world on which rests the
acramental cup, are most lovely ; the colour is sober, but fine.
his picture was painted in 1515, soon after Fra Bartolommeo
ad lost his best beloved friend, Mariotto Albertinelli.
The paintings of Giorgione are so rare, and can so seldom
e authenticated, that the pictures bearing his name in this
pom aré very doubtful. Near the Fra Bartolommeo is Moses
iken from the Nile, presented to Pharaoh’s daughter, attributed
» Giorgione; it is fine in colour, and has an exceedingly lovely
indscape background. The figures are drawn with spirit and
race, and the picture is probably a sketch for some larger work,
may have formed part of a bridal chest.
A head of Francesco della Rovere, Duke of Urbino, husband
the beautiful Eleanora Gonzaga, and father of Vittoria della
overe, is by Federigo Baroccio.
An Annunciation, by Andrea del Sarto, the third in this
illery, was painted for Giuliano della Scala, to be placed in a
napel of the SS. Annunziata.
The Deposition from the Cross, by Pietro Perugino, a
oble yet simple composition, is in the tender, sweet, and
irnest manner of the Umbrian School, with careful and some-
hat academical treatment. It was in this picture that Perugino,
1495, presented an example of landscape painting to the
See Crowe and Cavalcaselle, vol. iii. p. 466.
N 2