- ably for Church of Orbatello. A beautiful
composition and rich in colour, but injured by retouching. Repetition, with variation, in Palazzo Pitti.—C. & C., Italy, ii. 488; Rumohr, Forschungen, ii. 285; Rosini, iii. 111.
By Filippino Lippi, Uffizi, Florence; wood, figures less than natural size; signed, dated 1496. The Virgin and Child, with St. Joseph behind, and two of the Magi kneeling in front, while the third pauses to let his crown be removed; Moorish and Indian attendants, with horses and spectators; upwards of thirty figures in all. According to Vasari, the astrologer with a quadrant is Pier Francesco de' Medici, and other figures represent others of the family. Painted for S. Donato al Scopeto, Florence.—Vasari, ed. Mil., iii. 73; C. & C., Italy, ii. 444.
By Murillo, Belvoir Castle, Leicestershire, England; canvas, H. about 6 ft. × 5 ft. The Virgin, nearly full-length, standing on right, holding the Child on a box supported on trestles; behind her, St. Joseph; in centre foreground, one of the Kings kneeling, his yellow mantle held by two pages; beyond, another in white robes, holding vases; on his right, a third in white turban and two children. Early work.—Curtis, 167.
By Nicolas Poussin, Louvre; canvas, H. 5 ft. 4 in. × 5 ft. 9 in. The Virgin, seated at left in front of the ruins of a temple, holds Jesus on her knees; behind her, St. Joseph; the three Kings, followed by servants and soldiers, prostrate them-*selves before the Saviour and offer gifts; in background, at right, their horses. Painted at Rome in 1653 for M. de Mauroy; passed at his death to M. de Boisfranc, and then to the Chartreux of Paris, from which acquired by Louvre. Engraved by Ant. Morghen in Musée français, and by Avice.—Villot, Cat. Louvre.
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Adoration of Magi, Raphael (?), Berlin Museum.
By Raphael (?), Berlin Museum; canvas, H. 7 ft. 10 in. × 5 ft. 10 in. The Infant is lying on a carpet spread on the ground, adored by Mary and two angels kneeling; at left, St. Joseph, standing, leaning upon a staff; at right, the Magi, one of whom, kneeling, presents a golden vase; in background, left, the stable, with an ox and an ass looking out; at right, a caravan descending a mountain; above, three angels, draped, holding a banderol inscribed Ecce Agnus Dei. Border decorated with arabesques and figures of saints in grisaille. Painted about 1503 by Raphael, according to local tradition, for Ancajano Ancajani, Abbot of the Convent of Ferentillo, near Spoleto, 1478-1503. Remained in Church of S. Pietro there until 1700, when it was restored and removed to the Chapel of the Palazzo Ancajani, Spoleto, a copy by Se-
