THE MADONNA OF FOLIGNO.
RAPHAEL.
This picture was painted at the instance of a secre-
tary of Pope Julian II, named Sigismund de Comitibus,
in order that he might fulfil his vow. Having escaped
from imminent danger, he attributed his safety to the
Virgin, and presented this picture to a church at Rome*
known by the name of Ara Cali,
Raphael had frequent recourse to this species of mys-
tical composition, so often produced by the Italian
painters; and without subjecting himself to the laws of
chronology, has introduced, in the same picture, several
saints; honoured, no doubt, by the giver, with peculiar
veneration.
In the centre of a Glory, the Virgin, seated on some
clouds, holds the infant Jesus in her arms, around which
some little angels are perceptibly grouped.
In the lower part of the picture, the contributor,
upon his knees, joins his hands, and directs his eyes to-
wards the Virgin and the infant Jesus. Beside him, St.
Jerom and St. Francis are united in prayer. St. John,
partly clothed in the skin of a camel, appears to disclose
to the spectator the Virgin and her son. In the midst of
them, a little angel on foot, holds a tablet. The back
ground represents a village, upon which falls a globe of
75
RAPHAEL.
This picture was painted at the instance of a secre-
tary of Pope Julian II, named Sigismund de Comitibus,
in order that he might fulfil his vow. Having escaped
from imminent danger, he attributed his safety to the
Virgin, and presented this picture to a church at Rome*
known by the name of Ara Cali,
Raphael had frequent recourse to this species of mys-
tical composition, so often produced by the Italian
painters; and without subjecting himself to the laws of
chronology, has introduced, in the same picture, several
saints; honoured, no doubt, by the giver, with peculiar
veneration.
In the centre of a Glory, the Virgin, seated on some
clouds, holds the infant Jesus in her arms, around which
some little angels are perceptibly grouped.
In the lower part of the picture, the contributor,
upon his knees, joins his hands, and directs his eyes to-
wards the Virgin and the infant Jesus. Beside him, St.
Jerom and St. Francis are united in prayer. St. John,
partly clothed in the skin of a camel, appears to disclose
to the spectator the Virgin and her son. In the midst of
them, a little angel on foot, holds a tablet. The back
ground represents a village, upon which falls a globe of
75