- ecuted in commutation of a vow. Vasari
says that for drawing, grace, and beauty of colour, for liveliness and relief, no artist had ever done the like. Now much deteriorated. Engraved by Zuccherelli; Chiari; R. Morghen; Lazzarini.—Vasari, ed. Mil., v. 45; C. & C., Italy, iii. 572; Klas. der Malerei, i. Pl. 29; Ch. Blanc, École florentine; Dohme, 2iii. 2; do. (Keane), 438; Réveil, ix. 619.
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Madonna del Sacco, Andrea del Sarto, SS Annunziata de' Servi, Florence.
MADONNA WITH ST. ANNA, Leonardo
da Vinci, Louvre; wood, H. 5 ft. 6 in. × 4
ft. 3 in. The Virgin, seated on St. Anna's
knees, leans forward to take Jesus, who is
caressing a lamb; background, a mountainous
country. Said to have been bought by
Francis I., who had it hung in his oratory.
If so, it found its way back to Italy, for it
was purchased there in 1629 by Cardinal
Richelieu, after whose death it passed into
collection of Louis XIV. Though its authenticity
has been doubted, it is unhesitatingly
affirmed by some of the best judges.
A copy, attributed to Salai, formerly in S.
Celso, Milan, now in Leuchtenberg Gallery,
Munich; another in Brera, Milan, with varied
background, attributed to Bernardino
Luini; a third in Uffizi, Florence, attributed
to Salai. Cartoon, differing in composition,
in Royal Academy, London. Engraved
by Laugier; G. Cantini.—Vasari, ed. Mil.,
iv. 58; Musée français, i. Part 3; Villot,
Cat. Louvre; Landon, Musée, x. Pl. 58;
Clement, 217, 374; Rigollot, Hist. des Arts,
etc., 268; Richter, Leonardo, 100; Mündler,
Essai, 113; Ch. Blanc, École florentine;
Heaton, Leonardo, 84, 230; Kugler (Eastlake),
ii. 360; A. Marks, St. Anne of L. da
V. (London, 1883, reprinted from Transactions
of R. Soc. of Literature);
Réveil, vi. 367.
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Madonna with St. Anna, Leonardo da Vinci, Louvre.
MADONNA OF ST. ANTHONY
OF PADUA, Raphael,
ex-King Francis II. of
Naples; wood, in two parts,
main panel 5 ft. 8 in. sq.,
lunette 2 ft. 6 in. high. Virgin
enthroned, under a canopy,
with Jesus seated on her
knee; beside them kneels St.
John; on the sides, to the
right St. Margaret and St.
Paul, to the left St. Catherine and St.
Peter. In the lunette, the Heavenly Father,
with two seraphs behind and a winged
angel on each hand. Painted in Perugia
in 1504-5 as an altarpiece for Convent
of St. Anthony of Padua; sold in 1677
to Count Antonio Bigazzini, of Perugia, for
2,000 scudi; transferred soon after to the
