The "Madonna di San Sisto" was painted for a banner to be borne in processions. It is a subtle observation of Rio that the banner, an invention of the Umbrian school, corresponds in painting to the hymn in poetry.
See Vol. II., Revival of Learning, p. 316, for Raphael's letter on this subject to Leo X.
"La Spasimo di Sicilia" is the single Passion picture of Raphael's maturity. The predella of "Christ carrying the Cross" at Leigh Court, and the "Christ showing His Wounds" in the Tosi Gallery at Brescia, are both early works painted under Umbrian influence. The Borghese "Entombment," painted for Atalanta Baglioni, a pen-and-ink drawing of the "Pietà" in the Louvre collection, Marc Antonio's engraving of the "Massacre of the Innocents," and an early picture of the "Agony in the Garden," are all the other painful subjects I can now remember.