4. Another St. George slaying the Dragon with a lance, while the former one uses a sword. This picture, signed on the horse trappings Raphello V., is of especial interest to our countrymen, the Knight's knee being encircled by the Garter of England, as patron of that order: it was painted by the Duke's command in commemoration of his receiving this distinction; and in all probability was carried as a present to Henry VII. by Castiglione, in 1506, when he went to London as proxy at his master's installation. There it graced the palace of the Tudors and Stuarts until sold for £150 by the Commonwealth to Lord Pembroke. It was subsequently purchased by Catherine of Russia from the Crozat Collection, in which it is engraved.
Anderson
MARGHERITA LA FORNARINA
After the spoiled picture by Raphael in the Galleria Barberini in Rome
5. and 6. Two easel pictures of the Madonna, stated by Vasari to have been commissioned for the Duke of Urbino, are traced by Passavant to the Imperial Gallery at St. Petersburg, and to M. Nieuwenhuys of Brussels.
7. The portrait of Raffaele by himself, now in the Florence Gallery, is understood to have been executed at Urbino in 1506, whence it was carried to Rome by Federigo Zucchero, and placed in the academy of St. Luke, until obtained thence by the influence and gold of Cardinal Lorenzo de' Medici. Passavant considers that the hair and eyes have been darkened by restorations, and corrects a mistake of the Canonico Crespi, who has occasioned some confusion by mistaking an old copy of it still in the Albani Palace at Urbino for a fresco, and by writing to Bottari in 1760 as if he had there discovered an original likeness of Sanzio.[*181]
The Holy Family and St. John in the Ellesmere Collection, called the Madonna del Passeggio, is alleged to have been presented by a duke of Urbino to Philip II., and by him to the Emperor. Thence it is traced through Queen Christina to the Odescalchi and Orleans Galleries. Passavant appears to consider the Penshanger Madonna to have also been painted in the duchy. To the same period are ascribed missing portraits by Sanzio of Duke Guidobaldo I. and his Duchess, as well as of Bembo, Giuliano de' Medici, and others of their court.
Though somewhat out of chronological order, we may here mention the portrait of a duke of Urbino, with those of Julius II., and a Magdalene, all said to have been from his easel, and to have belonged to the ducal family, particulars of which will be found in the list of Urbino pictures in the Appendix to our third volume. It, however, seems doubtful if he ever did portray either of his successive legitimate sovereigns; but a half-length of Lorenzo de' Medici, the usurping Duke, was purchased in Florence by the late M. Fabre about twenty-five years ago, and is now in the museum bequeathed by him to Montpellier. It is ascribed to Raffaele, and there is a good copy of it in the hall of Baroccio at the Uffizi of Florence. We have not connected any other works of his with Urbino, which, after the visit of 1506, he was not destined again to see.