[191] In the Brancacci Chapel at Florence.
[192] In the Gallery of the Vatican.
[193] Vatican. Capella Paolina.
[194] v. Il perfetto Legendario.
[195] There was an oratory in the church of the Franciscans at Varallo, in which they celebrated a yearly festival in honour of St. Petronilla. While Gaudenzio Ferrari was painting there the series of frescoes in the chapel of the crucifixion on the Sacro Monte, he promised to paint for the festival an effigy of the saint. The eve of the day arrived, and still it was not begun: the people murmured, and reproached him, which he affected to treat jestingly; but he arose in the night, and with no other light than the beams of the full moon, executed a charming figure of St. Petronilla, which still exists. She stands holding a book, a white veil over her head, and a yellow mantle falling in rich folds: she has no distinctive emblem. ‘Gaudenzio, che in una bella notte d’estate dipinse fra ruvide muraglie una Santa tutta grazia e pudore mentre un pallido raggio di luna sbucato dalla frondosa chioma d’albero dolcemente gl’irradia la fronte calva e la barba rossiccia, presenta un non so che di ideale e di romanzesco che veramente rapisce.’—Opere di Gaudenzio Ferrari, No. 21. (Maggi, Turin. It is to be regretted that in this valuable work neither the pages nor the plates are numbered.)
[196] Second or third century. Bosio, p. 519.
[197] v. Münter’s Sinnbilder, p. 35.
[198] v. Zani. Enc. delle Belle Arti.
[199] In the gallery of Mr. Miles, at Leigh Court.
[200] Those who consult the engravings by Santi Bartoli and Landon must bear in mind that almost all the references are erroneous. See Passavant’s ‘Rafael,’ ii. 245.