The Nursing of Bacchus (13): Farnesina Gardens, Rome.
ROMANINO (see under 297).
Visit of Christian II., King of Denmark, in 1475 to Bartolomeo Colleoni
(58, 182, 188, 228, 234, 240): frescoes, Castle of Malpaga, near
Bergamo.
["There is perhaps no edifice of the kind which gives so
complete an idea of the residence of a great Italian nobleman
in the middle ages." The frescoes are fully described in Mr.
Oscar Browning's _Life of Bartolomeo Colleoni_, published by
the Arundel Society in 1891. "These pictures are extremely
interesting as showing the manners and customs of the time; and
we cannot but feel that an age which could have crowded into
so short a space so many scenes replete with life and colour,
with dignity and magnificence, must be worthy of our study.
Romanino, the reputed author of the frescoes, was born ten
years after the events which they portray. He must, therefore,
have worked from the family records of what occurred, although
in his own age the life of chivalry was not altogether dead. It
is more probable, however, that they were executed by one of
his pupils."]
ROSSELLI, COSIMO (Florentine: 1439-1507).
Worship of the Golden Calf (135): fresco, Sistine Chapel, Rome.
The Last Supper (184): " " "
Passage of the Red Sea (192): " " "
Sermon on the Mount (198): " " "
[The latter is the most successful. The landscape and perhaps
other parts are by his pupil, Piero di Cosimo. To Rosselli was
formerly attributed No. 227 in our Gallery.]
SANTI, GIOVANNI (see under 751).
Nativity and Resurrection (4): fresco, St. Domenico, Cagli.
SARTO, ANDREA DEL (see under 690).
The Last Supper (122): fresco, S. Salvi, Florence.
[A celebrated work in a convent, now a lunatic asylum, near
Florence: commissioned in 1519, finished in 1527. Described and
highly praised by Vasari (iii. 224), who says that the beauty
of the fresco saved the convent from destruction during the
siege of Florence in 1529-30.]
Charity (94): fresco, cloisters of Campagnia dello Scalzo, Florence.
[This fresco is the subject of an interesting dissertation by
Max Müller, published by the Fine Art Society, 1887.]
St. John Baptist preaching (93): fresco, cloisters of Campagnia dello
Scalzo, Florence.
Birth of the Virgin (51): fresco, Annunziata, Florence.
Procession of the Magi (33): fresco, Annunziata, Florence.
St. Filippo Benizzi (52): " " "
Madonna del Saco: " " "
SIGNORELLI (see under 1128).
Scenes from Life of Moses (60): fresco, Sistine Chapel, Rome.
St. Benedict receiving the true King Totila (144): fresco, Monte
Oliveto.
St. Benedict receiving the false King Totila (257): fresco, Monte
Oliveto.
[For a description of these frescoes at Monte Oliveto, see Maud
Cruttwell's _Luca Signorelli_, p. 58.]
The Crowning of the Elect (165): fresco, cathedral, Orvieto.
Portraits of Dante and Virgil (from the same): " "
[For a description of these see Bevir's _Visitor's Guide to
Orvieto_, p. 43, etc.]
SODOMA (see under 1144).
Presentation of SS. Placidas and Maurus to St. Benedict (233):
fresco, Monte Oliveto.
St. Benedict Preaching (98): fresco, Monte Oliveto.
Christ (12): fresco, convent of S. Anna, near Siena.
Christ bound to the Column (61): picture, Academy, Siena.
Swoon of St. Catherine (69): fresco, S. Domenico, Siena.
Vision of St. Catherine (64): " " "
Presentation of the Virgin (263): fresco, S. Bernardino, Siena.
TIEPOLO (see under 1192).
Anthony and Cleopatra (162, 168): frescoes, Palazzo Labia, Venice.
[The best of Tiepolo's works. "His frescoes in the Palazzo
Labia, representing the embarkation of Anthony and Cleopatra
on the Cydnus, and their famous banquet at Canopus, are
worthy to be classed with the finest decorative work of Paolo
Veronese."--J. A. Symonds: _Century Guild Hobby Horse_, April
1889.]
TIMOTEO DELLA VITE (Ferrarese: 1469-1523).
The Magdalen (265): picture, Pinacoteca, Bologna.
[By the first master of Raphael. The picture is mentioned by
Vasari (iii. 114): "She is standing upright, her vestment is a
short mantle, but the figure is covered principally with the
long hair, which falls to her feet; and this is so beautiful
and natural that, while observing it, one cannot but fancy
that the light silky tresses are stirred by the wind. The
countenance, also, has the most divine beauty of expression,
and clearly exhibits the love which this Saint bore to her
Lord."]
TITIAN (see under 4).
Miracles of St. Anthony of Padua (14, 133): frescoes, Scuola del Santo,
Padua.
TURA, COSIMO (see under 772).
Triumph of Venus (112): fresco, Schifanoia Palace, Ferrara.
Triumph of Minerva (129): " " "