RAPHAEL Gallery, the Madonna della Seclia (1516-17), Palazzo Pitti, Florence, with many other pictures mentioned in the accompanying list of his -works; designed the Cartoons (1515-16), S. Kensington Museum, London ; painted a great number of portraits, deco- rated the Loggie of the Vatican with 48 frescos (1516-19), grotesques, and ara- besques, carried out by his pupils ; executed for Agostino Chigi the frescos of Oalatea (1514), and History of Psyche, at the Farne- sina (1517), with the assistance of Giulio Romano and II Fattore ; designed the mo- saics and the statue of Jonah for the Chigi Chapel at S. M. del Popolo, the frescos of Attila, Deliverance of St. Peter, Noah, Abra- ham, Joseph, Moses and Burning Bush (1511-14), Stanza d'Eliodoro, Vatican ; In- cendio del Borgo (1514), Oath of Leo HI., Stanza dell' Incendio del Borgo, Vatican ; History of Old and New Testament, com- monly called Raphael's Bible (1516-19), Loggie, Vatican ; Isaiah (1512), S. Agostino ; Prophets and Sibyls (1513), S. M. della Pace ; Triumph of Galatea (1514), History of Psyche (1517), Palazzo Farnesina, Rome. Works in oil: Resurrection (1495-1500), Vatican, Rome ; Alfani Madonna (1500), Casa Fabrizi, Terni ; Solly Madonna (about 1500), Berlin Museum ; Crucifixion (about the History of Venus and Cupid (1519), and 1 1500), Earl Dudley, London ; Madonna painted the Holy Family of Francis I. (1518), | (1502?), Berlin Museum ; Connestabile Ma- Louvre, Paris, the Madonna di San Sisto j donna (1502-3), Hermitage, St. Petersburg ; (1519), Dresden Gallery, and last of all the Coronation of Virgin (1503), Vatican ; Mar- Transfiguration (1519-20), Vatican Gallery, upon which he was at work at the time of his death. If in the work of Raphael's Ro- man period, here enumerated but in part, riage of the Virgin (1504), Brera, Milan ; Christ in the Garden (about 1504), Stan- stead House, Sussex; St. George and the Dragon (1504), St. Michael (1504-5), St. that indescribable, spring-like freshness is i John in "Wilderness, Apollo and Marsyas wanting which marks those of his Florentine (1504-5), Louvre ; Madonna del Gran' Duca period, its absence is compensated by an unrivalled skill in composition, an added power of expression, an increased grandeur (1504-5), Palazzo Pitti, Florence ; Knight's Vision (1504-5), National Gallery, London ; Three Graces (1504-5), Due d'Aumale, Chan- of style, an improvement in the use of i tilly ; Madonna of St. Anthony of Padua colour, a mastery of portraiture, and a per- (1504-5), ex-King Francis IL of Naples ; ception of ideal beauty which culminates in Cowper Madonna (1505), Panshanger House, the Madonna di San Sisto. Nor must we, England ; Madonna di Terranuova (1505), in speaking of this great painter's life-work, ! Diotalevi Madonna (?), Berlin Museum ; Holy forget to mention the immense number of exquisite studies and designs in pen and ink, Family of the Palm (1506), Bridgewater House, London ; Madonna di Casa Tempi silverpoint, pencil, and chalk, which consti- , (150G), Canigiani Holy Family (1506), Mu- tute by no means the least precious part of nich Gallery; Orleans Madonna (1506?), the world's inheritance from the Prince of Chateau de Chantilly, France ; Madonna in Painters. Works in fresco : The Trinity (1505), S. Severe, Perugia ; Dispute of Sac- rament, School of Athens, Parnassus, Pru- dence, Fortitude and Temperance, Justinian, Gregory IX., Adam and Eve, Apollo and Marsyas, Judgment of Solomon, Astronomy, Theology, Philosoj}hy, Poetry, and Jurispru- dence (1508-11), Justice, Camera della Se- gnatura, Vatican ; God appearing to Noah, Jacob's Dream, Heliodorus, Mass of Bolsena, the Meadow (1506), Vienna Museum ; Ma- donna del Cardellino (1506), St. John in Wilderness, Uffizi, Florence ; Madonna di Ansidei (1507), National Gallery, London; Portraits of Agnolo and Maddalena Doni (1506), Palazzo Pitti, Florence ; St. George and the Dragon (1506), Holy Family with Beardless Joseph (1506), Hermitage, St. Petersburg; Portrait of Raphael (1506-7), Portrait of Young Woman, Uffizi, Florence ;
