Close to the door, Apollo and Marsyas: a delicate little Perugino, attributed to Raphael. Good treatment of the nude, and painted like a miniature. Renaissance feeling. Compare it with the St. Sebastian in the Salle des Primitifs.
Above it, Jehan de Paris. Madonna and Child, with the donors; a characteristic and exceptionally beautiful example of the early French school. Contrast its character with the Italian and Flemish. Extremely regal and fond of tinsel ornament.
20. Correggio. Jupiter and Antiope, a good example of his Correggiosity and marvellous arrangement of light and shade. Very late Renaissance. Perfection of art; very little feeling.
*446. Titian. Entombment. A fine but faded example of the colour and treatment of the prince of the Venetian Renaissance.
231. Luini. Virgin and Child. Not a pleasing example.
*419 and **417. Two admirable portraits by Rembrandt.
**250. Mantegna. Crucifixion, predella or base of the great picture in San Zeno at Verona. Notice the admirable antique character of the soldiers casting lots for Christ’s raiment. The rocks are very Mantegnesque in treatment. One of the artist’s finest pictures. Spend some time before it. We will return again to this fine painting.
381. Andrea del Sarto. Holy Family. Showing well the character of this master’s tender and melting colour: also, the altered Renaissance treatment of the subject.
Beyond the doorway, two dainty little Memlings. Marriage of St. Catherine (the Alexandrian princess) to the Infant Christ; and, the Donor with St. John Baptist and his lamb. When a saint places his hand on a votary’s shoulder, it usually indicates the patron whose name the votary bears.
Near it, graceful little St. Sebastian of the Umbrian school. Compare with others. This plague-saint is one of the few to whom mediæval piety permitted nudity.