"Out of Venice there is nothing of Titian's to compare to his Sacred and Profane Love. It represents two figures: one, a heavenly and youthful form, unclothed, except with a light drapery; the other, a lovely female, dressed in the most splendid attire; both are sitting on the brink of a well, into which a little winged Love is groping, apparently to find his lost dart.... Description can give no idea of the consummate beauty of this composition. It has all Titian's matchless warmth of colouring, with a correctness of design no other painter of the Venetian school ever attained. It is nature, but not individual nature: it is ideal beauty in all its perfection, and breathing life in all its truth, that we behold."—Eaton's Rome.
"Two female forms are seated on the edge of a sarcophagus-shaped fountain, the one in a rich Venetian costume, with gloves, flowers in her hands, and a plucked rose beside her, is in deep meditation, as if solving some difficult question. The other is unclothed; a red drapery is falling behind her, while she exhibits a form of the utmost beauty and delicacy; she is turning towards the other figure with the sweetest persuasiveness of expression. A Cupid is playing in the fountain; in the distance is a rich, glowing landscape."—Kugler.
30. Madonna: Giov. Bellini.
34. St. Cosmo and Damian: Venetian School.
11th Room.—Veronese school.
1. Madonna with Adam (?) and St. Augustine: Lorenzo Lotto, MDVIII.
2. St. Anthony preaching to the Fishes: P. Veronese?
3. Madonna: Titian?
11. Venus and Cupid on Dolphins: Luc. Cambiaso.
14. Last Supper: And. Schiavone.
15. Christ and the Mother of Zebedee's Children: Bonifazio.*
16. Return of the Prodigal Son: Bonifazio.*
17. Samson: Titian.
18. Christ and the Woman taken in Adultery: Bonifazio.
19. Madonna and Saints: Palma Vecchio.
In this picture the donors are introduced—the head of the man is grandly devout and beautiful.
25. Portrait of Himself: Titian?
27. Portrait: Giov. Bellini.
31. Madonna and St. Peter: Giov. Bellini.
32. Holy Family: Palma Vecchio.
33. Portrait of the Family of Licini da Pordenone: Bart. Licini da Pordenone.
12th Room.—Dutch and German school.
1. Crucifixion: Vandyke.
7. Entombment: Vandyke.
8. Tavern Scene: Teniers.
9. Interior: Brouerer.
19. Louis VI. of Bavaria: Albert Dürer?
21. Portrait: Holbein.
21. Landscape and Horses: Wouvermann.
22. Cattle-piece: Paul Potter.
24. Portrait: Holbein.
26. Skating (in brown): Berghem.
27. Portrait: Vandyke.
35. Portrait: Lucas von Leyden?
44. Venus and Cupid: Lucas Cranach.
The Palazzetto Borghese on the opposite side of the piazza, originally intended as a dower-house for the family, is now let in apartments. It is this house which is described as the "Palazzo Clementi," in Mademoiselle Mori.
At the corner of the Via Fontanella and the Corso is the handsome Palazzo Ruspoli, built by Ammanati in 1586. It has a grand white marble staircase erected by Lunghi in 1750. Beyond this are the palaces Fiano, Verospi, and Teodoli.
"Les palais de Rome, bien que n'ayant pas un caractère original comme ceux de Florence ou de Venise n'en sont pas moins cependant un des traits de la ville des papes. Ils n'appartiennent ni au moyen age, ni à la renaissance (la Palais de Venise seul rappelle les constructions massives de Florence); ils sont des modèles d'architecture civile moderne. Les Bramante, les Sangallo, les Balthazar Peruzzi, qui les ont batis, sont des maîtres qu'on ne se lasse pas d'étudier. La magnificence de ces palais reside principalement dans leur architecture et dans les collections artistiques que quelques-uns contiennent. Un certain nombre sont malheureusement dans un triste état d'abandon. De plus, à l'exception d'un très petit nombre, ils sont restés inachevés. Cela se conçoit; presque tous sont le produit du luxe célibataire des papes ou des cardinaux; très-peu de ces personages ont pu voir la fin de ce qu'ils avaient commencé. Leurs heritiers, pour le plupart, se souciaient fort peu de jeter les richesses qu'ils venaient d'acquerir dans les édifices de luxe et de vanité. A l'intérieur, le plus souvent, est un mobilier rare, suranné, et mesquin."—A. Du Pays.[7]