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AUTHORS

CONTRIBUTING

of

Director-General
Ralian

the

the

Archaeologist
of

the

the

Christian

Lateran
the

at

MONSIGNOR
Member

of

the

PAUL

Prussian

DR.

Historical

of

the

DR.
of

the

Royal

National

Royal

of

Inspector

Roman

of

of

the

Member

Vatican
of

the

Ambrosian

Academy
of

the

Royal

BARON
Director

Fine

Director

of

the

Gregorian

UGO

of

the

Vatican

and

Polytechnic

Numismatic

Academy

the

the

Vatican

Museums,
of

the

Councillor

Vatican

Museums,

of

Member

of

the

Rome.

VILLARD
of

Milan.

SERAFINI

Collections,

Fellow

of

the

Archaeology.

SALVATORE
of

of

Arts, Member

Museum.

of
DE

Capitoline

PROFESSOR
Director

and

NOGARA

CAMILLO

Pontifical

Medieval

Brera.

Profane

Commission

COMMENDATORE
Director

the

Christian

and

the

of

History

Academic

of

MONNERET
of

the

Rome.

Fine

BARTOLOMEO

Professor

of

KANZLER

Etruscan

Archaeological
DR.

Arts,

Vatican

COMMENDATORE

the

Director
of

Academy

the

and

CAVENAGHI

RODOLFO

of

Art

of

University

Council

of

Genoa.

Rome.

of

Gallery, Artistic
Superior

of

at

LUIGI

Picture
Roman

Pope.

Rome.

Ancient

Prints

Professor
the

at

the

MUNOZ

COMMENDATORE
Director

of

Gallery

ANTONIO

Art

to

OZZOLA

Monuments,

Modern

Prelate

SETA

University

Cabinet

DR.

S.T.D.

REICHENFELD

Gallery,

LEANDRO

Archaeology

Domestic

DELLA

Royal

and

Museum

Propaganda.

di

J.U.D.,

DE

National

the

ALESSANDRO

DR.
Professor

Istituto

Rome,

at

HERMANIN
of

Director

Milan.

Egyptian

BAUMGARTEN,

Institute

under

Arts
in

Christian

of

the

at

MARIA

FEDERICO

Inspector

and

Rome

Fine

Brera

Vatican

the

Professor

Museum,
of

University

of

Director

Palaces,

Sacred

the

MARUCCHI

ORAZIO

COMMENDATORE
of

of

Director

formerly

and

Antiquities

of

Department

Government,

RICCI

CORRADO

ATORE

COMMEND

NOBILI
Mosaic

Factory.

Editors
ERNESTO

BEGNI,

J.D.

JAMES
THOMAS

J.

KENNEDY,

B.A.

C.

GREY,

Ph.D.,

B.C.L.

CONTENTS

Part

HISTORY

DESCRIPTION

GENERAL

AND

PALACES

THE

VATICAN

Vatican

Palaces

OF

GARDENS

AND

PAGE

Description

General

and

History

3
.

BAUMGARTEN

MARIA

PAUL

By

The

the

of

37

Gardens

Vatican

By

MONNERET

UGO

Part
THE

STATE
The

APARTMENTS
of

Chapel

By

The

Sistine

MONNERET

UGO

Pauline

MONNERET

UGO

of

Stanze

107

CORRADO

RICCI

137

Raphael

of

Loggie

ANTONIO

MUNOZ

ANTONIO

MUNOZ

Raphael

167

Part

MOSAIC
The

MUSEUMS

III

COLLECTIONS

AND

New

Picture

Gallery
By

Gallery

of

Egyptian

LUIGI

THE

189
......

CAVENAGHI

Tapestries
By

The

AND

FACTORY

The

VILLARD

DE

Borgia

Appartamento

VATICAN

DE

REICHENFELD

101

By

THE

VILLARD

Chapel

By

The

DE

61
HERMANIN

By

The

51

FEDERICO

By

The

CHAPELS

Chapel
By

The

II

AND

Nicholas

VILLARD

DE

231

LEANDRO

OZZOLA

Museum

251
By

OBAZIO

MARUCCHI

[viin

viii

CONTENTS
PAGE

The

Etruscan

Gregorian

BARTOLOMEO

By

The

Museum

of

281

Museum

NOGARA

Sculpture

291

Paintings

Ancient

and

By

The

of

Gallery

ALESSANDRO

Christian

Numismatic

Hall

Vatican

of

the

RODOLFO

Vatican

UGO

Mosaic

421

CAMILLO

SERAFINI

MONNERET

DE

PAUL

Secret

MARIA

BAUMGARTEN

Archives
PAUL

473

MARIA

BAUMGARTEN

Factory

499

SALVATORE

NOBILI

Part

VATICAN

IV

ADMINISTRATION
By

VILLARD

431

By

THE

425

Charts

Library

By

The

KANZLER

Geographical

By

The

MARUCCHI

Collection

By

The

ORAZI0

399

By

The

381

Museum

By

The

SETA

Inscriptions
By

The

DELLA

507
PAUL

MARIA

BAUMGARTEN

LIST

VATICAN

THE

OP

ILLUSTRATIONS

DESCRIPTION

GENERAL

AND

HISTORY

OF

VATICAN

THE

Continued

GARDENS"

PALACES

PAI

Bed-room

of

Leo

adjoining

XIII

the

PAGE

View

General
and

of

the

Palaces

Vatican

of

Part

Piazza

the

of

Courtyard
Loggia

ing
show-

Pietro,

Palace

Vatican

the

S.

di

Casino

the

Caffeaos

or

Casino

44

Leonina

Torre
5

Gardens

of

of

Pius
the

opposite

Pius

45

IV

46

IV

....

Cortile

di

Cortile

di

Relvedere
S.

Casino

of

Pius

10

Damaso

THE
Scala

Pia

10

Scala

Nobile

10

Rronze

Gate

Section

of

Concistoria

NICHOLAS
of

Chapel

the

Nicholas

V
52

Angelico)

53

Angelico)

(Fra

Aquinas

Thomas

Concistoria

Sala

of

(Fra
St.

12

OF

CHAPEL

Ceiling

11
Sala

Ceiling,

the

47

IV

12

St.
The

Bonaventure

(Fra

53

Angelico)
.

The

Decano

13

Sala

Clementina

14

Throne

of

St.

Distributes

Stephen

St.

Stephen"

Alms

(Fra

gelico)
An53

16

Room

Sermon

The

16

Antechamber

Privy

Ordination

of

St.

Stephen

St.

"

phen
Ste-

......

Sala

del

of

Library

the

the

(Fra

Judges

Angelico)

18

Pope

with

Disputes

17

Tronetto

Private

54

...

of

Writing-table

Pius

Pope

Scala

of

Sala

Ceiling,

the

Regia
.

of

Section

Sala

Wall,

Dragged

of

out

Jerusalem

Regia

Section

Stephen

St.

19
.

20

"St.

22

Angelico)

Stoned

Stephen

Death

to

(Fra
55

Regia

St.

22

Laurence

Ordained

Deacon

(Fra

...

Sala
Section

Angelico)

22

Regia
of

Sala

Ceiling,

the

Ducale

24

St.

Laurence

St.

Laurence

56
Entrusted

with

the

ures
Treas-

Sala

Ducale

of

24

the

Church

(Fra

56

Angelico)
.

Medieval
del

leading

Gate

the

to

Cortile
25

Papagallo

Distributes
the

among

Poor

the

(Fra

Treasures

Angelico)

57
.

Cortile

Pigna,

della

cio

showing

Laurence

St.

Brac-

the

Nuovo

before

Decius

26

(Fra

the

Emperor
58

Angelico)
....

General

View

Bas-relief

of

with

the

Cortile

Warriors,

della

The

27

Pigna

Laurence

(Fra
58

28

Pigna

THE
of

Apotheosis
Cortile

Antoninus

and

of

Tower

the

29

General

30

Moses

View

of

CHAPEL

and

Sistine

the

Sephorah

Chapel

62

and

(Perugino

Pinturicchio)

31

Winds

Four

SISTINE

Faustina,

Pigna

della

Pigna

The

St.

Angelico)

della

Cortile

of

Martyrdom

63

....

Tunnel
Exit

leading
of

the

to

Vatican

of

Chapel

Pope

Pius

Moses

34
.

from

Moses

and

and

and

(Perugino

33

Tunnel

Private

Detail

33

Gardens

the

Sephorah

Pinturicchio)
of

Daughters

64
Jethro

(Botticelli)
VATICAN

THE

Detail

GARDENS

of
of

Corner

St.

of

Cupola

Vatican

the

Gardens

and
38

Moses

Jethro

Details

Peter's

65

from

the

Daughters

(Botticelli)

from

Sea

and

the

(Rosselli

65

Passage
and

of

the

Red

Pupils)

66
....

Torre

Leonina

Grotto

of

Chalet

and

39

Lourdes

The

40
Leonina

Torre

and

40

The

....

Casino

of

Reception
Leo
Sala

Leo

XIII

Room

in

41
the

Casino

in

the

Torre

The

Leonina

Red

the

Sea

(Rosselli

Pupils)
Adoration

66
of

the

Golden

Calf

(Rosselli)

of

XIII
Rotonda

of

Passage

42

Abiram

43

gnorelli)

[ixl]

67

Punishment
and

of
On

Korah,

(Botticelli

Dathan,
and

Si68

LIST
THE

SISTINE

CHAPEL"

OF

ILLUSTRATIONS

Continued

SISTINE

THE

Continued

CHAPEL"

PAGE

PAGE

The

Testament

Detail

of

from

the

Moses

(Signorelli)

Testament

of

from

the

Baptism

(Pinturicchio

and

of

Baptism
and

of

Temptation

Detail

from

of

the

Candelabra

70

Side

Christ

(Botticelli)
of

of

Peter

(Domenico

and

....

(Last
94

Balustrade

on

(Fifteenth
95

View

of

and

Choir-loft

(Fifteenth
95

Century)
The

Ghirlandaio)

(Fifteenth
95

Balustrade

Andrew

Choir-loft

the

Century)

70

Christ
71

Calling

Damned

the

93

Judgment)

(Last
of

Century)

(Pinturicchio

Temptation

the

Judgment)

(Botticelli)
The

69

of

Emblems

Perugino)

The

Figures

Christ

Perugino)

Christ

69

Passion

The

Angels

Moses

(Signorelli)
Detail

the

Bearing

68
.

Sistine

Cantoria,

(Fifteenth

72

Choir-loft

or

Century)

96

....

Detail

from

the

Andrew

Calling

(Domenico

of

Peter

Portion

and

Ghirlandaio)

of

Marble

Balustrade

(1481-

1483)

72

97

The

Sermon

the

on

Mount

(Bosselli)

73

Panels

of

the

Balustrade

(1481-1483)

98

Detail

from

the

Sermon

the

on

Mount

(Rosselli)
Christ

Last

the

Keys

The

(Rosselli)

Michelangelo

The
the

showing

THE

77

(Botticelli)

Hall

77

Soterus

(Botticelli)

77
...

of

Ceiling

the

Sistine

Deluge

(Michelangelo)

80
.

Sacrifice

Noah

(Michelangelo)

of

Noah

(Michelangelo)

The

Creation

of

Adam

The

Creation

of

Eve

81

(Michelangelo)

108

(Pinturicchio

and

the

Hall

of

the

Mysteries

109

Annunciation

(Pinturicchio

Sin

and

the

Expulsion

The

Creation

of

The

Creation

of

Light
the

The

and
HO

Adoration

of

(Pinturicchio

82

The

83

The

from

(Michelangelo)

Sun

and

the

the
and

Magi
Pupils)

110

of

Land

the

from

Prophet

Joel

The

Delphic

Sibyl

(Michelangelo)

(Michelangelo)

86

Cumaean

and
112

of

the

(Pinturicchio

Ghost

Holy

and

86

Isaiah

(Michelangelo)

86

(Michelangelo)

87

Assumption

Pupils)

113

(Pinturicchio

113

Besurrection

(Pinturicchio

and

Pupils)
Details

114

from

the

Resurrection

(Pinturicchio

and

Pupils)

115
.

Sibyl

The

Persian

The

Prophet

Daniel

The

Prophet

Jeremiah

The

Prophet

Ezekiel

Sibyl

(Michelangelo)

The

87

The

Last

Figure

Judgment
of

the

87

(Michelangelo)
(Michelangelo)
(Michelangelo)

Redeemer

The

87
88

and

90

Child

of

no
the

Saints

(Pinturicchio

Pupils)

117

Visitation

Anthony

(Pinturicchio

and
us

and

(Pinturicchio

St.
and

Paul

the

Hermit

Pupils)

118
.

Group
(Last

of

the

Blessed

around

Christ

Judgment)

91

....

Angels
(Last

Summoning
Judgment)

the

Detail

Dead

to

Rise

the
Detail

92

from
Hermit
from

Sebastian

(Pinturicchio

Pupils)
St.

Judgment)

and

Pupils)
Hall

The

89

(Last

Madonna
and

(Michelangelo)

and

Pupils)
The

86
.

Prophet

(Pinturicchio

Coming

The

(Michelangelo)

Pupils)

85

Zechariah

The

The

and
Hi

Ascension

The

the

(Michelangelo)

The

(Pinturicchio

Separation

Prophet

84

84

....

Nativity
Pupils)

Moon

(Michelangelo)

Pupils)

(Michelangelo)

Water

(Pinturicchio

109

in

The

82

(Michelangelo)
.

The

Mysteries

Enthroned

Door

81
.

The

the

Pupils)

David

Eden

BOBGIA

Pupils)
78-79

of

Original

APPARTAMENTO

Drunkenness
The

of

and

Chapel

(Michelangelo)
The

103

77

(Michelangelo)
Stephen

St.

St. Peter

Popes

Fabianus

...

Pope

of

102

Martyrdom
(Michelangelo)

Wall

and

St.

St. Paul

Last

....

Pope

of

76

of

Caryatid

Conversion

75

(In

Judgment)

Lucius

CHAPEL

(Michelangelo)
....

of

Section

PAULINE

St. Peter

to

74

Supper

Portrait

THE

73

Delivering

(Perugino)
The

St.

Anthony

(Pinturicchio
the

Martyrdom

(Pinturicchio

and

St.

and
of
and

Paul

Pupils)

119

St.

Pupils)

119

OF

LIST

XI

THE

Continued

BORGIA"

APPARTAMENTO

THE

ILLUSTRATIONS
RAPHAEL"

OF

STANZE

Continued
PAGE

PAGE

of

Martyrdom

The

and

from

Detail
of

the

St.

and

Osiris

from

Ceiling

the

of

the

Hall

The

125

The

Hall

the

of

the

Liberal

the

and

(Pinturicchio

Pupils)

Geometry

(Pinturicchio

and

Pupils)

(Pinturicchio

Detail

from

the

Credo

of

Hall

in

the

129

129

in

Hall

the

Hall

of

Pupils)

Frieze

showing

147
the
and

from

the

(Raphael

and

of

Mass

Bolsena
148

Pupils)

....

of

Mass

Bolsena
149

Pupils)

....

the

Expulsion

the

Temple

from

of

rus
Heliodoand

(Raphael

149
of

Expulsion
Temple

Heliodorus

from

the

Pupils)

IV

St.

and

149
Attila

and

150

Pupils)

....

131

Ancient

131

The

132

Details

133

Detail

134

The

Mosaic
of

Hall

from

Peter

in

the

Prison
150

Pupils)

and

(Raphael

130

St.

of

....

of

Centre

the

151

Heliodorus
of

Hall

Fire

the

in
and

(Raphael
from

Fire

the

the

and

Borgo

152

Pupils)
in

Borgo

the

and

(Raphael

Alexander

Pupils)

and

Pupils)

Leo

Freeing

(Pinturicchio

of

and

of

(Raphael
The

Ceiling

Pupils)

(Raphael

Meeting

The

Saints

the

Portrait

(Pinturicchio

and

(Raphael

of

Pupils)

and

Sibyls

the

and

VI

of

Bolsena

from

Appartamento

and

(Pinturicchio

of

and

(Raphael

Pupils)

129
.

Borgia
Frieze

Heliodorus

(Raphael

128

129

Hall

the

and

(Pinturicchio

Another

146

Pupils)

of

from

Detail

128

Pupils)

Pupils)

and

(Pinturicchio

Astronomy

Heliodorus

Pupils)
and

Ceiling

the

of

Pupils)

and

(Pinturicchio

Music

Hall

(Pinturicchio

Rhetoric

Archaeology

127

Pupils)

and

(Pinturicchio

Arithmetic

the

Pupils)

126

and

and

145

in

(Pinturicchio

(Pinturicchio

(Raphael

147

Mass

Detail

Grammar

Dialectic

145

Pupils)

Sacramento

and

Hall

Detail

Arts
.

and

Pupils)

Liberal

Pupils)

and

Pupils)
Ceiling

126
of

(Baphael

(Raphael

del

Disputa

The
126

in

Hall

The

124

of

Arts
The

The

and

Pupils)
Fireplace

Jerome

145

(Raphael

(Pinturicchio

Arts

and

Alighieri

and

Pupils)

Liberal

123

and

(Pinturicchio

144

Bernard

Pupils)

and

144
and

(Raphael

Pupils)

St.

of

(Pinturicchio

of

and

(Raphael

Sodoma

Aristotle

and

Dante

Disputa

the

144
and

Pupils)
Sts.

and

Pupils)

and

from

the

Plato

Catherine

St.

of

Catherine

Detail

121

Martyrdom

(Pinturicchio

(Pinturicchio

Death

Raphael

122

Disputa

Details

120

Pupils)

Pupils)

Pupils)
The

and

(Raphael

Rovere

St.

and

Flight

Barbara

144
.

of

Martyrdom

(Pinturicchio

Barbara

della

Francesco

Pupils)

Pupils)

Pupils)

and

and

Flight

The

Elders

the

(Pinturicchio

119

Pupils)

and

(Pinturicchio
St. Susanna

and

(Raphael

Philosopher

Sebastian

St.

from

the

(Raphael

and

in

Borgo

the

154

Pupils)

of

Victory

153

Pupils)
Fire

St.

Leo

IV

the

over

Saracens

Ostia

at

and

(Raphael

pils)
Pu155

STANZE

THE

OF

RAPHAEL

Coronation

The

of
and

(Raphael
Hall

The

of

(Raphael

Poetry

and

Signatura

in

and
the

Pupils)

Hall

(Raphael

of

139

Athens

140

of
and

and

from

Parnassus

Scala

....

and

(Raphael

157

140

Pupils).
Pupils)
(Raphael

(Raphael

and

141

Detail

142

The

143

The

Bridge
160

Pupils)
in

Door

the

Stanze
161

Barili)

Chiaroscuri
Giovanni

Milvian

the

and

from

(Giovanni

and

(Raphael

Constantine

159

of

and

the
158

of

(Raphael

near

Pupils)
Battle

The

discovered

Santa

Vision

The

140
.

the

Pupils)

Pupils)

156

Pupils)

Constantine

of

Mosaic

Ancient

Pupils)

and

(Raphael

School

Temperance

Pupils)

(Raphael

Parnassus

Hall

Pupils)
and

(Raphael

Ceiling

Detail

The
138

Prudence

(Raphael
Theology

The

Signatura

Pupils)

and

Fortitude,

The

the

Charlemagne

da

Chiaroscuri

Hall
Udine

with
and

Frescoes
P.

by
163

Maratta
.

Hall

164

LIST

Xll

LOGGIE

THE

OF

ILLUSTRATIONS

RAPHAEL

OF

THE

Continued

GALLERY"

PICTURE

NEW

PAGE

PAGE

leading

Door

(Sixteenth

Loggie

the

to

168

Century)
of

Loggia
The

169

Raphael
Toil

First

of

Man

Sodom

Leaving

Family

171

Loggia

Isaac

and

Rachel

and

of

Moses
and

Nile

the

(Raphael

of

Loggia

the

decorated

Ornaments

in

(Raphael

the

the

XIII

Gregory

over

of

in

and

Presenting

People

the

Law

and

(Raphael

and

showing

the

(Sixteenth
Solomon

Arms

of

the

177

The

178

The

179

The

Clement

VII

of

the

Rota

the

(Antoniazzo
208

Enthroned

Madonna

Saints

with

209

Coronation

of

Virgin

the

210

Sheba

of

Madonna

The

and

(designed

painted

and

Raphael

Romano

Monteluce

Giulio

by

210

Penni)

Annunciation

211

(Raphael)
.

(Raphael
Door

and

(Sixteenth
The

Pupils)
the

showing

181
of

Arms

XIII

Gregory

Century)

Adoration

of

The

Adoration

The

Presentation

182

the

Magi

207

Spagna)

(Lo

Virgin
207

of

Virgin

by
180

Queen

of

(Raphael)

Century)

and

Magi

the

Coronation

Pupils)
Door

The

and

(Raphael

of

the

or

(Perugino)

Pupils)

Rathsheba

206

Spineta,

della

Romano)

David

177

the

to

206

(Niccold

Triptych

(Pinturicchio)

Nogari)

Moses

(Francescuccio

Child

and

Adoration

Sermoneta

(Mascherini,

205

Marches

Madonna

The

the

Loggie
Candelabra

and

Arms

Door

Umbria

of

Alunno)

177

Pupils)

and

showing

School

the

Camerino

The
.

Decorations

204

Forli)

da

(Melozzo

and

IV

Ghissi)
The

177

the

Pilasters

the

176

in

Sixtus

Pope

of

Hall

Madonna

Mantovani

by

The

203

Forli)

da

from

202

II Platina

and

Pupils)

Detail

174
175

from

Candelabra

Details

....

Vinci)

da
IV

Sixtus

II Platina

Loggia

saved

173

201

Conti)

de'

(Leonardo

Pope

and

(Raphael

Pupils)
Portion

201

Sforza

Jerome

(Melozzo

Pupils)
Jacob

....

Vinci)

da

Francesco

St.

of

172
and

(Raphael

Rebecca

of

(Bernardino
Head

Pupils)

and

(Raphael
Another

200

Cossa)

(Leonardo

Jerome

Portrait

and

(Raphael

170
His

and

del

(Francesco
St.

Ferrer

St. Vincent

of

Pupils)
Lot

Miracles

The

(Raphael

of

the
in

Magi
the

212

(Raphael)

Temple
213

(Raphael)
The

Madonna

of

Foligno

(Raphael)

214
.

and

Pupils)

183

Detail

from

the

Transfiguration

(Raphael)
THE

NEW

PICTURE

GALLERY

215

Transfiguration

The

(Raphael)

217
.

Madonna

and

Child

(Carlo

218

Crivelli)
.

One

of

the

Halls

in

the

Old

Picture

Pieta

Gallery
The

(Carlo

Crivelli)

219

190
The
of

Ceiling

Hall

in

the

Madonna

of

St. Nicholas

dei

Frari

Old

(Titian)
Picture

(L. B.

Gallery

Alberti)

Hall

The

Hall

of

the

Trecento

Primitives

or

St.

Hall

of

Melozzo
The

the

Trecento

Slaying

the

Dragon

(Paris

192

Mary

Quattrocento,

the

Angels

Magdalen

Christ

Child,

(Fra

the

Anointing

Dead

or

(Montagna)

194
and

220

193
.

Hall

Madonna
and

George
Bordone)

of

The

220

191
.

The

with

The

Saints

Angelico)

195

Deposition

Detail

from

222

(Caravaggio)
the

Last

222
.

Communion

of

Episodes
of
The

from

Bari
Miracles

(Francesco
The

Miracles

(Francesco
The

Miracles

(Francesco

the

(Fra

Life

of

Angelico)

of

St.

del
of

St. Vincent

del

Cossa)

197

The

198

St.

Last

(Domenichino)
Communion

223
of

St.

224
of

Martyrdom

St.

Laurence

(Ribera)

Ferrer

A
199

Margaret
Rest

225
of

during

(Baroccio)

Jerome

(Domenichino)

Ferrer

Cossa)

Jerome

196

The

Ferrer

Cossa)

St. Vincent

del
of

Vincent

St.

St. Nicholas

Cortona
the

(II Guercino)

Flight

into

226

Egypt
226

LIST
THE

NEW

PICTURE

ILLUSTRATIONS

OF

GALLERY"

xui

Continued

THE

EGYPTIAN

MUSEUM
PAGE

The

of

Espousals

St.

Catherine

Red

(Murillo)

Statue

227

Granite

of

(285-247

Philadelphus

II

Ptolemy
b.c.)

253
...

Statue
THE

GALLERY

OF

of

Arsinoe,

Wife

of

Ptolemy

Philadelphus

TAPESTRIES

Statue

of

254
Unknown

an

Princess

257
.

The

Miraculous

Draught

(Designed

of

Statue

Fishes

Raphael)

by

of

Queen

Century

232

Tuaa

(Fourteenth

b.c.)

258

....

Detail

from

the

Horizontal

the

Miraculous

(Designed

Frieze

Draught

by

of

Sandstone

of

Head

of

Dynasty;

Fishes

Raphael)

2000

233

Mentuhotep

enth
(Elev-

between

3000

(1366-1333

b.c.)

and

b.c.)

259

....

"Feed

Sheep"

my

(Designed

Statue

by
233

from

Paul

the

by
Detail

Frieze

of

Areopagus

Frieze

Sheep"

(Designed

by

of

Rasalt

Statue

of

Ut-a-hor-resent

Naophorus,

the

260

Priest

(Sixth

Century

Shrine-bearing

or

261

b.c)

Statue

262
.

234

Lateral

the

Green

St.

signed
(De-

Raphael)

from

my

Lateral

the

before

Seti

Raphael)
Detail

of

Naophorus,
of

"Feed

Raphael)

showing

the

Carved

Figure

Osiris

263

234

Opisthographic

235

Mummy

Sandstone

Stele

The

Healing

of

Lame

Man

(Fourteenth

signed
(De-

Raphael)

Death

of

Ananias

(Designed

The

Table

.236

Stoning
by

St.

of

Stephen

b.c.)

St.

of

Paul

(Third

264
.

Century

after
266

of

Offerings

(Eighteenth

Dynasty)

(Designed

Raphael)
Conversion

Cover

Christ)

by

Raphael)
The

Century

by
The

the

237

Funeral

238

Funeral

239

Stele

267

Carving

Dynasty

(Designed

of

Nineteenth

(Fourteenth

Century

268

b.c)
.

by

Raphael)
Stricken

Elymas

with

of

Apa

Twenty-sixth

Rlindness

(Sixth

Century

Dynasty;

b.c)

270
.

(Designed

Raphael)

by

Sacrifice

The

Stele

of

of

Hori

(Eighteenth

Century

b.c)

271

....

Lystra

(Designed

Hieratic

by

Raphael)

Papyrus

Dead,"

240

of

the

belonging

"Rook

of

the

Neskem

to

272-273
.

St.

Paul

in

Prison

(Designed

Statue

by

Raphael)
St.

Paul

241

before

the

(Designed

by

Areopagus

of

the

or

"Egyptian

Apollo"

275

Princess

Raphael)

Antinous,

242

holding

and

Canopic

two

....

Table

of

Offerings,

Vases

276
....

The

Adoration

by

of

Raphael

the

and

Magi

(Designed

Lion

Pupils)

243

II, last

....

The

Adoration

of

(Designed

by

from

Shepherds

the

Raphael

and

the
of

Monument

the

of

Pharaohs

Nectanebo

(Fourth

tury
Cen-

b.c)

Pupils)

278

243
.

The

Massacre

of

(Designed

the

by

Innocents

Raphael

and

Pupils)

244

THE

GREGORIAN

ETRUSCAN

MUSEUM

The

Massacre

of

the

Innocents.

Two

Objects

Sections

(Designed

by

Raphael

found

Tomb

Pupils)
of

Christ

the

to

Armlet

by

Raphael

and

Regolini-

Tomb

Supper

at

(Designed

245

(Designed

and

(Designed

in

by

the

Raphael

246

Amphora

Regolini284

246

The

247

Terra-cotta

247

Bronze

248

Statue

Exechias

by

(Sixth

b.c)
with

285

Full-length

Figure

of

Achilles

Temple
and

made

Century
.

the

Tomb

Amphora

by

Pupils)

Presentation

from

by

Pupils)

Resurrection

Raphael

Galassi

Emmaus

and

283

Rere-piece

245

Raphael

282

pils)
PuGolden

The

b.c)

the

from

dalen
MagGalassi

(Designed

The

Regolini-Galassi

Century

245

Apparition

The

the

(Seventh

Golden
The

in

and

Pupils)

285

Vulci

Rowl,

showing

Hermes,

The

Ascension
and

The

The

(Designed

by

Dionysus,

Raphael

Descent

of

the

(Designed

by

Raphael

Three

Virtues

Raphael

and

Holy

(Designed

Pupils)

in

Ghost
and

Pupils)

Silenus

and

Nymphs

286
.

Pupils)

Objects,

Bold

and

Frieze

Relief
Statuettes

by

including

286
of

Boys

with

Bulla;

Inscriptions

287

of

288

Mars

OF

LIST

XIV

THE

MUSEUM

OF

SCULPTURE

ILLUSTRATIONS
MUSEUM

THE

AND

SCULPTURE

OF

ANCIENT

PAINTINGS

ANCIENT

AND
Continued

PAINTINGS"

PAGE

PAGE

The

Gallery

of

Statues

292

The

Gallery

of

Statues

293

The

Gallery

of

Statues

294

The

Sala

della

The

Hall

of

Greek

Cross

296
...

of

Portico

Cortile

the

Cortile

The

Hall

of

the

The

Hall

of

the

298
299

Muses

300

Animals

(Fourth
324

B.C.)
of

Muse

(Fourth

Tragedy

325

B.C.)

Century
Thalia,

323

B.C.)

Century
Citharaedus

Century

Ottagono

(Leochares[?](

Belvedere

Melpomene,

297

Ottagono
.

The

Fourth

Apollo

295

Rotonda

the

del

Apollo

of

Muse

(Fourth

Comedy

325

b.c.)

Century
Artemis

(Fourth

Century

326

b.c.)

....

of

Hall

The

Animals

the

301

Zeus

of

302

Meleager

Otricoli

(Fourth

Century

b.c.)

327

....

The

Gallery

of

the

Candelabra

The

Gallery

of

the

Candelabra

The

Gallery

of

the

Candelabra

The

Museo

Fourth

(Scopas[?](

...

303

Century

...

304

328

b.c.)

Headless

Statue

of

Niobid

(Fourth

...

Chiaramonti

305

Century

328

b.c.)

....

Part

of

Rraccio

the

306

Nuovo
....

of

Part

Braccio

the

307

Nuovo

Carried

Ganymede
(Fourth

Century

....

The

Braccio

One

End

Part

of

308

Nuovo
of

Braccio

the

309

Nuovo

Nuovo

Citharaedus

Apollo

Fourth
329

b.c.)

310

Crouching

311

Jupiter

311

Personification

(Archaic

329
....

of

Figure

Aphrodite

....

Seated

Eagle

b.c.)

(Lysippus,

Century

Braccio

the

Apoxyomenus

the

by

up

(Daedalus

[?],

Hellenistic

329

Period)
.

Period)
of

Figure

Nude

(Archaic

Apollo

Three

Girl

Runner

312

Period)

(Archaic

Graces

(Archaic

Nile

The

Hellenistic

(Alexandrian

313

Period)

and

Gymnast

his

Slave

Period)

330

School,

Hellenistic

Period)

....

Young

Antiochia
.

313
.

Penelope

Hellenistic
329

of

(Eutychides,

Period)

(Archaic

(Bryaxis,

Period)

Period)
The

Serapis

(Archaic

Marine

Centaur

331

(Hellenistic

Period)

332
.

313

Period)
Discobolus

Classical

(Myron,

313

Period)
.

Centaur

Triton

or

Pergamos,

(School

Hellenistic

of

Period)

333
.

Classical

(Polycletus,

Doryphorus

Centaur
314

Period)

Crowned

(Hellenistic

with

Vine

Leaves

Period)

333
.....

Classical

(Polycletus,

Amazon
Amazon

(Cresilas,

Amazon

(Phidias,

314

Period)

Classical

Silenus

315

Period)

315

Period)
.

Pericles

Classical

(Cresilas,

Young

316

Period)
Classical

Phidias,

317
of

(School

Phidias,

of

334

Carrying
Lysippus,

Dionysus
Hellenistic

Period)

Period)
Artemis

Dionysus

Period)

Satyr

(School

of

(School

Demeter

Infant

(Hellenistic

Classical

with

Classical

Faun

in

334
antico

rosso

(Hellenistic

Period)
317

Period)

Maenad

.335

(Hellenistic

Period)

336
.

of

(School

Caryatid

Classical

Phidias,

Niobid

Ulysses

(Hellenistic

of

(School

336
.

Period)

(Hellenistic

Menelaus
for

Preparing

the

Relief

of

318

Horseman

(Classical

Century

338

Period)

(Agesander,

339

Polydorus

Hellenistic

and

Period)

341
.

319

(Fourth

Laocoon

Athenodorus,

Period)
Hera

(Hellenistic

Throw

Period)

(Classical

337
.

Period)

317

Period)
Discobolus

Barberini

Period)

Classical

Phidias,

Ariadne

Boeotian

(Hellenistic

317

Period)
Athena

Fugitive

320

B.C.)

del

Torso

Belvedere

Hellenistic

(Apollonius[?],

Period)

343

of

Aphrodite
Fourth

Apollo

Cnidus

Century

Century

(Hellenistic

Period)

344
.

B.C.)

Sauroctonus

Fourth

Fisherman

(Praxiteles,
320

Demosthenes

320

Semo

(Polyeuctus,

Hellenistic

Period)

(Praxiteles,
B.C.)

344

Sancus

(Graeco-Roman

Period)

345
.

Torso

of

Fourth
Antinous

School,

an

Eros

Century
del

(Praxitelic

Juno

B.C.)

Belvedere

Fourth

School,

Century

320

(Praxitelic

Sospes

322
.

(Graeco-Roman

Period)
Sacrifice

b.c.)

Lanuvina

Period)

345
of

Mithra

(Graeco-Roman
347

Sacrificers

of

Stele

349

Tablet

350

Period)

Grseco-

(Painting,

352
353

Aldobrandini

Nozze

the

Detail

from

the

Nozze

Aldobrandini

Detail

from

the

Nozze

Aldobrandini

354
.

of

(Graeco-Roman

Faustina

the

MUSEUM

French

Cross

(Graeco-Roman

Silver

of

(Graeco-Roman

his

(Graeco-Roman

of

Son

402
Metal

Wood,

of

from

with

(Jean

Peni403

Century)

the

Christ,

with

Triptych

364
and

Virgin

(circa

Saints
with

Medallion

403

1000)

Portraits

man
(Graeco-RoSts.

and

Peter

404

Century)

(Third

Paul

of

366

from

the

Pacis

Ara

and

Silver

German

Chalices

Augustse
and

405

Century)

(Fifteenth

Paten

369

Period)

(Grseco-Roman

....

(Grseco-Roman

371

Period)

found

Capsella

Silver

Figure

the

showing

Relief

Rome

Limoges,

Passion

the

Sixteenth

Italian

Honorary

....

from

Triptych

Scenes

402

Century?)

(Sixteenth

Enamel

and

Vibius

Period)
Bas-relief

(Fifteenth

Gilt

Bronze

Century)

caud,

Period)

Lucius

and

ries)
Centu402

Bronze
Wife

(Back)

Gilt

Fifteenth

and

Cross

Italian

Byzantine
of

402

Centuries)

Silver

of

364

Tablet

teenth
(Four-

Gilt

Fifteenth

(Fourteenth

Enamel

Period)
Dacus

401

Museum
.

Crosses

363

of

400

Museum

Christian

the

359

363

Period)

Rraschi

Christian

the

to

of

Cross

363

Antinous

CHRISTIAN

French

363

Period)

of

396

358

(Graeco-Roman

Elder

Empress

and

394
Restorations

with

361

Period)

Sepulchral

the

a.d.)

Interior

361

Period)

(Grseco-Roman

Hadrian

Head

from

Period)
.

The

(239

357

Venus

Trajan

and

Period)

(Graeco-Roman

[?]

of

Fragment,

(Grseco-

Augustus

(Grseco-Roman

Julia

Inscription

Period)

Claudius

of

Temple
Arvalian

Entrance

of

Period)
.

Nephew

Titus

393

Julianus

THE

Period)

(Graeco-Roman

Roman

Postumius

355

Slaughter

the

(Grseco-Roman

Niobids

Caius,

of

356

showing

Sarcophagus

390

Bassus
Statue

of

Graeco-

(Mosaic,

Athena

Augustus

Anicius

of

Honor

Period)

the

in

Auchenius

Fragment

Period)
from

of

(Eques
388

erected

Pedestal
351

Roman

Julius

Grseco-Roman

Aldobrandini

Head

386
....

Flavius

singularis)

Period)

Period)

Roman

and

Names

Soldiers

of

Titus

of

the

(Painting,

Detail

348
Artemis

to

(Graeco-Roman

Charioteer

Nozze

giving

Birthplaces

Grseco-Roman

(Painting,

Pasiphae

Inscription

Continued
PAGE

Period)
Procession

PAGE

(Graeco-Roman

Procession

Isiac

INSCRIPTIONS"

OF

Continued

PAINTINGS"

ANCIENT

xv

GALLERY

AND

SCULPTURE

OF

MUSEUM

THE

ILLUSTRATIONS

OF

LIST

(Sixth

Carthage

at

405

Century)

of

some

General

Polychrome

Triumph

the

depicting

Sarcophagus

372
from

Painting

the

Farnaces

St.

373

of

375
St.

from

377

Letters

in

Procope's

Site

the

near

of

Temple

in

INSCRIPTIONS

OF

found

Inscription

and

of

407

with

Diptych
of

Christ

the
407

Century)

(Fourteenth

St.

representing

Glass,

Cemetery

from

Scenes

Peter

Striking

Moses

(Fourth

Rock

the

of

408
Casket

Reliquary

the
382

Mars

of

St.

John

Painted

with

Figure
(Eleventh

Chrysostom

....

Verse

Hexameter

against

her

Column
of

giving
Roman

383

Bronze

384

Silver

the

showing

Reliquary

St.

Names
385
.

Reliquary
Praxedes

Century)

in
was

which

fixion
Cruci-

the

409

Century)

(Eleventh

Early

Legions

409

Century)

with

Relief

Protest

Numbers

or

Century)

Death

Fragment

(Sixth

Century)

French

as

Ancient

Scenes

with

....

GALLERY

Inscription

406
....

Christ

of

from

Scenes

Cross

Life

the

Life

Constantia

Period)

(Grseco-Roman
THE

and

Virgin

the

Gold

Seventh

(Graeco-

Helena

Period)

Roman

Sarcophagus

of

donna
Ma-

....

of

Sarcophagus

of

Tomb

Life

Enamelled

Period)

(Grseco-Roman

the

with

Triptych,

Child

and

riod)
Pe-

(Grseco-Roman

Greek

...

the

preserved

Head

of

(Tenth
410

LIST

XVI

THE

CHRISTIAN

OF

ILLUSTRATIONS

Continued

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DESCRIPTION

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OF

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PALACES

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OF

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excavations

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of culture

world

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palaces

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our

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valuable

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age possess,
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an

naturally be represented by their choicest specimens


of the mighty and the wealthy, in the castles of the nobility,in the palace
that archaeologists enof the king. It is therefore
not remarkable
gaged
in extensive
excavations
when
rejoice beyond measure
they are
fortunate

so

to discover

as

handsome

castle

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or

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ished
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dynasty.
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Christian

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travellers; and
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also

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Baedeker

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find that, almost


the

throughout
described

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in the

of the guides of the sixteenth

the pages

rulers

further

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royal palaces

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convinced

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deduced

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successors.

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be

conceived

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large portion

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assured

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palace

by

buildings
St. Peter

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left and

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built

(498-514)

following

III

Eugene

(1277-1280)

III

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the

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on

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cerning
con-

St. Peter's,

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conjectures

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Basilica,

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of

maze

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from

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Neglecting

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and

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HISTORY
site

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mately

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stood

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whole

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in

Schism
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after

world

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name

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VI)

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only

later

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is closely associated

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at

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Instead

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DESCRIPTION

southern,

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cepted
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successor

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purposes

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buildings

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by

practically

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every

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century

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now

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to

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even

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to

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DESCRIPTION

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added

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di

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HISTORY
ful

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by
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and

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direction

DESCRIPTION

Popes

lived

right angles

at

Torrione,

the

the

long

runs

GENERAL

AND

of

reign

pleted
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IX

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HISTORY
of

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DESCRIPTION

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palace

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DESCRIPTION

hung

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GENERAL

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HISTORY

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HISTORY
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DESCRIPTION

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DESCRIPTION

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DESCRIPTION

GENERAL

AND

HISTORY

VI

the

about

begun
the

sand
thou-

Clement

and

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six

under

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lower

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DESCRIPTION

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DESCRIPTION

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room

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second

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is laid

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niches.

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same

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floor

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are

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in

basement.

pictorial decoration.
and

into

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on

floor,

Greek

by

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of
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terminates

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"

masonry.

tympanum.

separated

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an

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architectural

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VATICAN

and

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of

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work

notice.

earliest

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the

influence

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painted

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of

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Leonina

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produced

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masterpieces,

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characteristics

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from

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noteworthy,

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detail

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Margaret

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paintings.

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1561

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and

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on

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1526

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ner"

celebrity

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floor

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in

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of

the

born

the

and

of

room

43

Cherso.

great

was

St.

GARDENS

other

da

enjoys
Barocci

Domini,

Corpus
the

the

above;

rooms

Zucchero

by

VATICAN

the

paintings

arabesques

and

the

Holy

surrounding

Virtues

Family

in

and

the

the

figures which

grouped
in

the

first room,

in

central

the

ners,
cor-

panel

paintings representing

the

44

THE

Baptism

of

Woman

Christ,

taken

of the

in

the

have

in
four

grouped

of
of

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the

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di

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work

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to

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precincts
was

with

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some

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walls
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the

south),

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the

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by

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the

north

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the

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da

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the
of

tions
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medallion

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central

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and

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Nicchione.

medallion

paintings

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itself,
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paintings

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with

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VATICAN

the

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part

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GARDENS

VATICAN

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45

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of

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front

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Come

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to

given

Symmachus,

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it up

set

in

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Canto

xxi

quadri-porticus
who

name

old
of

II.

space

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work

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grossa

Roma."

gigantic pine-cone

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is

Palaces
"That

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pina

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represented

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mi

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remained

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IV

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on

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bronze

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up

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as

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by

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palace

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to

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use

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days

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one

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in

VATICAN

THE

46

proceed

which

have

we

Garden

charge

the

the

on

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columns

antique

was

and

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outside

by
four

the

porticoes

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note

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on

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is shown

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XIV

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ancient

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art.

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point

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the

in

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architect

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by

view

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gathered

many

are

has

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Clement

were

centre

precious objects

an

shape.

were

air

various

architect

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(Cf. p. 28.)

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bas-reliefs

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ivy.
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an

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with

the

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by

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strange

state

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so

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IV

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buildings.

to

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this garden

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formerly

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second

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close

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the

to

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the

of

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the

description

us

is sufficient

to-day,

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to

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antiquities.

palace

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ered
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to

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tian
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to

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Elio

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concerning
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and

metres,

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the

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old

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of

and

pagan

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it is the

front

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large part
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erected

of

information

some

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wall

inscriptions

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twenty-two.

of

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of
in

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line

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is

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and

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along

invasions

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but

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portico

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circus,

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on

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the

within

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the

gardens
and

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the

enclosed

was

adorned

these

IV

its builder.

discovered

were

old

Pius

which

after

then

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and

rebuilt,

Cornelia,

formerly

Traces

of

Casino

the

were

Gaianus,

the

obelisk

the

Via

the

pinae, along
known

Peter's.

history

47

GARDENS

VATICAN

THE

less

the

with

Peregrini,
the

Porta

in

finally, there

48

VATICAN

THE

the

was

the

Postern

of

monumental
When

of

precinct

di

Porta
Antonio
Rome

present

shape

Roman

Court

and

Sangallo

into

changed

art

extended

III,
Vatican

from

date
when

epoch

happy

the

Vatican,

They

area.

Paul

under

the

near

da

Spirito.

Santo

Sangallo,

da

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which

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an

and

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and

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greatness.

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gardens
though

visitors,

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were

to-day
they

they
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bear

made

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that

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"

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and

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THE

STATE

APARTMENTS

Two

AND

CHAPELS

THE

CHAPEL

the

|n

called
the

Rome.

to

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Mark's

in

him

with
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an

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decoration

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return

Vatican

January
and

in

Antonino

10,
1452

city.

1450,

to

decoration

refused,

of

the

we

his
the

the

all

influence

was

the

1447,

that

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and,

do

we

made

Angelico

prior

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of

of

in

the

out

"513

their

by

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all

leave
the

artist

his

Prato

persuade

chapel
carried

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to

of

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of

Miintz,

1449.

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Florence;

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on

to

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again

by
to

up

convent

artist

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registers

called

cathedral.

of

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investigated

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to

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dance
accor-

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to

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in

Cathedral,

Angelico
in

go

St.

at

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to

Monaldeschi,

refused

painter

payments

principal

work

28,

have

the

Enrico

Messer

not

him

1447

the

as

did

he

in

the

in

of

which

known

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him

Brigit

St.

Nicholas

Why,

find
of

head

use

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and

do,

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record

of

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to

with

Chapel

Treasury,
is

there

the

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of

people

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September

after

was

of

of

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Rome,

oratory

now

had

the

famous

appreciative

Rome,

to

who

accompanied

who

agreement

went

by

Vasari,

from

to

private
is

to

later
to

many

equally

which

Gozzoli,

Angelico

scenes

of

says

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down

painter

the

Angelico

Fra

and

V,

and

study,

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the

painted

they

where

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few

the

decorate

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According

portraits
of

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to

Fra

he

having

when

pulled

Chapel

Nicholas

him

on

went

Florence,

the

of

Florence,

called
was

introduced

after

When

Nicolina.

Cappella

Sacrament

he

workroom

alone.

the

who

fame

when

credit

of

Michelangelo.

by

successor,

called

work,

Angelico's
he

his

but

died,

Eugene

in

the

and

him

won

mistaken

which

Chapel,

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j^ear

IV

Florence,

had

archbishopric

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was

redecorated

painted

is likewise

he
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lowed
fol-

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belongs

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he

Mark,

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Nicholas

had

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says,

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Italy.

artist
It

Vasari

as

and

the

Sacrament

into

of

Rome,

to

and

III

Angelico

life

that

us

refused.

paint

to
Paul

Pope

throughout

St.

was

creations

Fiesole
with

of

famous,

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at

visions

Convent

there,

success

offered

Pope

the

all

Angelico

Fra

called

of

walls

Dominic

St.

already

delightful

frescoed

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Angelico,

His
of

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the

Fra

1445,

year

NICHOLAS

OF

undertake
Fra

Lippi.

the

Angelico
It is

prob-

52

THE

The

VATICAN

of

Ceiling

Chapel

the

that

able

In
the

no

divide
in

the

of

lie

above

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Gregory

and

window

are

Leo
Sts.

Athanasius.

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enthroned

with
In

on
are

told

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green

Stephen,

first

robe
who

in

and
two

on

kneels

on

St.

before

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the

series

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the

beside

sky,
stories

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with

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of

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arcades

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flow-

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and

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and

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the

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cape,

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chalice

him.

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the

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the
and
six

and

Stephen
series

dealing
below.

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priest.

left, is standing

rence.
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paintings,

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and

Bonaventure,

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starry

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yellow

different

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and

leaves

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the

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resemble

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to

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Sts.

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the

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of

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Aquinas
roof,

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picture

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the

1449,

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Garlands

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respectively;

clouds,

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church

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of
tells

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into

saints, and

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as

respectively

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Laurence

the

feast-day.

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lives

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Martyrdom

the

chapel,

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some

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mention

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did

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make

records

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interior
altar

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persons

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in
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assist

THE

CHAPEL

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NICHOLAS

53

S.80NA.VENTVRA'.
St.

Thomas

(Fra

The

Ordination

St.

Aquinas

(Fra

Angelico)

of

St.

St.

Stephen

(Fra

Angelico)

Stephen

Bonaventure

Angelico)

Distributes

Alms

54

THE

The

Sermon

St.

of

VATICAN

Stephen

St.

(Fra

the

at

of

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second

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is

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scenes

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ture
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synagogue.

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VATICAN

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THE

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called

in whom

1522,

paintings
Lecce

da

subjects

and

was

VI, about

two

Matteo

stories

discarded
himself

Moses

list of

very
the
as

of

taken

were

of
wall

of

time

brushes

were

Finding

the

ing

when

On

Last

there
the

trance

(Perugino

lost

were

Keys

the

ing

show-

Resurrection

the

Adoration

en-

frescoes,

the

Supper.

seen,

the

The

of

where

now

and

on

the

wall,

end

of

Peter

mon

Giv-

and

of

ing

Ser-

the

Mount,
to

Call-

the

of

Baptism

Christ,

the

the

to

right

the

the

wall

The

Moses,

of

Destruction

Korah,

of

of

Moses

the

Christ,

ment
mo-

life

the

contains

Andrew,

and

the

Journey,

Family

the

for

general.

more

contains

left

work,

the

Dolci,

artists

but

Sea,

Red

the

of

of

de'

various

Pha-

Egypt,

the

be

in which

Perugino,

the

particularize

for

Rosselli,

Cosimo

Giovannino

for

scenes

particular piece
must

by

to

Pietro

and

decorations

the

Moses's

Moses:

in

ten

to

mean

each

the

on

agreed

was

paint

to

explanation

our

The

in

contract

of

account

an

Ghirlandaio,

we

on

give

to

on

Botticelli, Domenico

Sandro

VATICAN

Adoration

in

New,
from

the

of Moses's
of

the

THE

Moses

SISTINE

and

the

CHAPEL

Daughters

of

65

Jethro

(Botticelli)

Detail

from

Moses

and

the

Daughters

(Botticelli)

of

Jethro

THE

66

Details

from

VATICAN

the

of

Passage

(Rosselli

and

Passage

of

the

Red

The

(Rosselli

and

Sea

Pupils)

the

Red

Pupils)

-.7-,.

Sea

r.v

SISTINE

THE

the

for
Thus

Body

of

Moses

find

in

this

we

of

close

itself

finds

Calf

Golden

the

the

opposite
faces

The

Sermon

and

Adoration

the

on

of

Chapel

matured

67

Resurrection

the

Palatine

Quattrocento

CHAPEL

of

of
the

Roman

theological

the

Golden

the

Mount;

gle
Strug-

Christ.
Pontiff

the

at

of

expression

those

Calf

(Rosselli)

wordless

in

sermons

of

the

Catacombs

churches;
served
indocta

if

we

at all.

the

as

the

up

had

cheered

coldness

severe

of

who

poor

the

scattered

was

an

Art

great

but

the
and

Pietro

the

Vatican
Umbrians

the

Nola

could

the
of

ness
dark-

the

tian
Chris-

elegantly

so

read:

not

middle

said,

rusticitas

some

of

cities
the

they

nipped

were

Eternal
to
of

City, and

whom

to decorate

to

the

When
and

fall

in

very
is not

Rome

when

Sistine

on

so

Popes

bethought

back

is

note

acter
char-

found

there

the

end

Popes

of

went

artists, among

owed
the

of

who

minor

at
the

Roman

Giotto

Italy.

Trecento
had

art

artists

artist

one

of

Viterbo

for

the

to

not

work

Lorenzo

Cavallini,
of

that

blossoming

in the

Palace,
came

did

blossoms

the

themselves

observe

to

great
of

era

the

waned

throughout
about

pictures

it is true,

but

chapel,
Ages,

Avignon.

the

it is instructive

There

Middle

Rome

centuries

St. Paulinus

the

to

from

Antoniazzo,
in

them

lighted

teachers

pass

them,

painted
Roman.

to

and

for

legendi.

Now

the

which

pictures which,

silent

as

colors

much,
returned

them

of

Tuscany,

and

Chapel.

Together

were

to

rating
decocans
Tuswith

68

THE

The

Punishment

VATICAN

of

Korah,

(Botticelli

The

and

Testament

Dathan,

Abiram

Signorelli)

of

(Signorelli)

Moses

and

On

Detail

the

from

Testament

Moses

of

69

CHAPEL

SISTINE

THE

Detail

(Signorelli)

Domenico

Botticelli,

Sandro

Ghirlandaio,

Pietro

Perugino,

Pinturicchio,

schools

of

and

masters
no

Umbria

matter

easy

actually painted by

been

it will
as

be

then,

painting
and

(Zipporah)
angel

of God

been

not

the
in

painted

as

the

as

both

chapel,

is also
Andrea

his.

In

d'Assisi

and

on

the
these

halts

It

was

the

painted
wall

end

that

and

was

were

the

altar, representing
works

(known

he
as

was

assisted

LTngegno),

the

Luca

towards

the

of

the

right.

Sephorah

as

by

frescoes

is performed.
gino,
Peru-

destroyed
Coronation

of

works

of

gem
on

later.

an

have

sons

Pietro

the

far

ning,
Begin-

earliest

the

ture,
pic-

as

rite
of

not

to

halted

hand

it is

has

the

with

Sephorah's

upon
of

so

sacramental

one

four

great

that

masterpiece.

together

reveal

These

it and

handmaidens

looked

once

we

because

proceed

the

picture

know

round

go

and

coloring

as

Moses

us

came

whom

kinds,

from

in each

will

we

master.

Perugino

two

to

caravan

and

far

as

all

along

go

we

servants

them

design

Umbrian

on

and

The

the

painting

come

to shows

sons

great

the

left wall,

forbids

who

decoration.

well

the

we

their

circumcised.
Here

whole

on

As

Rosselli
in

painter's design

one

collaborators

the

were

usual,

as

first

The

who

allows,

space

of

Christ

Perugino)

harmoniously.

from

point out,

to

and

Cosimo

by assistants

another.

of

Baptism

Signorelli,

so

fresco

endeavor

our

blended

works

whether

to say

and

Luca

and

Tuscany

in their

aided

were

the

from

(Pinturicchio

the

the

walls

Moreover,
the

Virgin,

principally by Pinturicchio,
Signorelli,

and

Piero

Dei.

70

THE

VATICAN

Baptism
(Pinturicchio

The

of

Christ

and

Temptation
(Botticelli)

Perugino)

of

Christ

SISTINE

THE

he

to

assisted

was

ricchio,

whose

coloring

is to be

his

hundred

of

the

Moses

of

the

truly

too

landscape

the

with

angel

to meet

of

heads

sion
circumci-

the

at

to him.

They

of

Perugino.

But

is

exclusively

by

it

he

and

Pinturicchio,

of

virile

attributed

be

can

speak

the

the

assist

who

ever
How-

forward

coming

nor

those

of

figure

sword

the

decorate

to

neither

design

the

Borgia.

Appartamento

splendid

in

paintings

those

chosen

being

the

the

was

Pinturicchio

for

won

figures

showed

on

ways

honor

by

It

he

skill

wondrous

ferred
re-

Pintu-

in the

seen

71

flowerlike

lovely

designed.

master

that

above

fresco

first

the

On

CHAPEL

also

was

Detail

of

figure

art

Christ,

of

have

we

idyllic
life

of

all around

near

and

was

of

work
of

the

In

the

corner

in

bush.

by

the

accompany

Moses

the

and
do

inorganic

not

Botticelli's
and

movement

dear

medieval

to

fresco

whole

the

of

fullness

the

figure

Moses

with

sweet

is the

charm

of

bearing

that

so

for

eyes
is to

another

this

by Cosimo
Sea

the

From

Midian-

the

as

the

be

seen

he

is

in

story

of

off

pulling

the

his

other

two

the

Moses
the

slaying

the
these

absorb

they

his

set

tian
Egypshoes

frescoes

Filippino Lippi.
and
of

accuracy

save

no

In

youth

Bed

of the

passage

with

has

of
so

central

as

And

Moses

importance,

to details

It is thus

meek

the

of

land

single

their

thus

burning

assisted

less

chose

well.

flight to Midian;

attention

and

one

was

people.

modest

so

which
of

chosen

the

visitor, who

in

God

adore

fresco

the

taking

Botticelli

Christ

was

skill of Sandro
breadth

frame

he

theme,

Jethro

them.

and

the

the

the

in

and

link

to

custom

the

of

Moses

beauty

how

the

within

leader

of

of

attention

of

Temptation

contribution

sole

of

the

well

so

maidens

fair-haired

to

the

of

daughters

of

example
knew

tells

concept

own

the

(Botticelli)

works

the

Following

he

story

from

tism
Bap-

Perugino's

showing
real

peace.

painters,

which

to

that

art

an

"

of the

Bedeemer.

the

fresco

the

In
ites

fresco

the

painted

who

fresco

Bosselli

and

the

engulfing

the

drawing

from

his
of

of

criticism

pupils,
Pharaoh.

the

The

people
badly

as

to

the

is the

who
ceived
con-

work.

genuine

relief

that

we

turn

our

eyes

painting

72

THE

The

VATICAN

of

Calling

Peter

(Domenico

Detail

from

the

Calling

(Domenico

and

Andrew

Ghirlandaio)

of

Peter

Ghirlandaio)

and

Andrew

THE

SISTINE

The

Sermon

73

CHAPEL

on

the

Mount

(Rosselli)

Detail

from

(Head

the
of

Sermon

Rosselli

on

to

the

the

Mount

left)

THE

74
that

next

comes

the

had

Never

graciously

the

have

the

Arch

into

brought

Christ

to

of

Chapel
of
other

Keys

read:

we

to

St.

so

of

Korah,

by

divine

followers

the

among
it

on

the

Delivering

the

met

ways,

down

magnificence

background,
written

and

Constantine,

of

the

struck

of

Signorelli.

followers

the

souls
in

the

Luca

in many

been

Luca

by

add

To

Orvieto.

the

as

painted

damned

of

Duomo

artists

much

so

so

just

have

and

unlike

figures of

The

who

On,

nothing

the

and

artists,

two

picture.

and

resemble

wrath,

these

this

in

as

Abiram,

Dathan,

of

souls

Botticelli

Sandro

of

work

the

"

VATICAN

of

christ
anti-

St. Brigit

the

scene,

ruins,

Boman

"Nemo

in
the

sibi

assumat

Peter

(Perugino)

privileges

and

rights

dispute

doubt

every

1481, that
done

it

the

he

was

by

Piero

was

glad

composition

being

lend

of

the

hand

but

allusion

patent

the

at

it,and

of
here

picture

the

original

to

the
and

divides

least

the

is

by

drawn

painting

one

banished

has

contract

was

Luca
in

up

ally
actu-

slight assistance

some

in

at

was

design

the

that

staff, with

Luca's
one

Venturi

that

in

there

Moses,

Adolfo

debate

assist
of

one

who,
to

to

of

Testament

included
in

called

Dei,

the

beyond

not

"

Pope.

historians,

art

was

Aaron"

tanquam

of

shown

Pinturicchio,

masters,
The

of

among
and

Signorelli, that

from

Deo

fresco

the

Concerning
time

nisi vocatus

honorem

that

fair

occasion

there

as

itself

into

of

company

offered.

episodes.

In

the

foreground
a

feet

his

their

dead

patriarch.
of

by

death
the

herald
the

time

the

it

of

There

is

of

the

Christ,
central

on

The

of

frescoes

work

Last

figure

whole,

sacrifice
Santo

the

feeble

Spirito

rising flames,
away

tempting

the

Land
from

tired

weeping

the

effect

son,

which

miracle

of

over

that

who

figure,

the
done

was

to

seems

for

drawing

Supper

the

work

with

by

and

the

curious

from

the

little

Saviour.

with

begins

Pinturicchio
which

in

the

designed

Sixtus

crowd
scene

with

in

IV,

of

showing
the

of

onlookers,

which

the

weird

demon

masterful

Pietro

take

Peru-

Springtime,

Christ,

characters

of

Baptism

the

by

of

Temptation

its background

Pope

the

for

save

was

overcrowded

leper,

restored

wall

figure, recalling the Allegory


Botticelli

Sandro

of

is

ground
back-

Rosselli)

right

of

Redeemer,

gracious

painted by
the

the

on

throughout
of

Another

gino.
that

of

Israel
to

the

Promised
down

of Luca's

glorious

Michelangelo,

The

series

of

appears

In

done.

was

(Cosimo

The

the

tradition

portrait

This

centre

rod.

coming

people

old

the

his

Moses

to

Moses

all, the
an

in

law,

receiving

out

then

is the

painters.

works

mighty

when

scene

Levite

jealous

is

pointing

75

the

reading

Aaron

touch,

to

last

and,

is

left

angel

never

splendid figure
to

Moses

the

to

the

were

mountain,

the

right

and

shown

are

that

the

to

Levite,

naked

CHAPEL

SISTINE

THE

and
the

altar
the
appears

which

is

is,

details.

Hospital
with
eye

its
pletely
com-

vainly

VATICAN

THE

76
of

series

The

said,

have

stories

on

of

Circumcision

the
next

is
and

in evidence

clearly

he

youthful,

designs

and

Andrew,

assisted

his

subjects,
To
for

painted
of

the

on

the

Dutch

the

all

the

of the

great

group

of

the

time.

as

though

ters

had

the

making

as

as

pearance

of

theatrical,

good

to

was

the

pupil

of

Neri

di

seems

to

have

lacked

have

to

bit

nothing

covered

best

feature

the

Mount

of

on

the

shown

that

Knight

of

by

style
the

in

Bhodes,

and

ambassador
these
of

two,

Cyprus,
A

fresco

Delivering
symbolical

the

in

painter

together
of
the

that

right

with

On

the

Keys

to

to the

kneeling

first

left

originalup
but

f or

himself.

his

Sermon

side

Louis

the

Apostle.

of

next,
centre

The

the
the

has

disThe
on

himself
left Jesus

leper boy.

successfully
d'Almedia,

brother,

also, and

bit

landscape,

is Giacomo
his

He

picked

healing

Chapel,
row

mediocre

there,

To

of Lusignan,

comes

In

is

stands

Carlotta

husband,

St. Peter.

he

in

Cosimo

modelled

school.

Sistine

the
him

beside

placed
her

in

Dutch

right

the

on

Borne.
has

the

who

pupil

the

peculiar importance

keys

ap-

Bicci.

the

Cosimo,

on

work

to the

Judgment)

and

and

great

figure

di

Leonardo

crowds,

his

the

of

Piero

Michelangelo

of

(Last

painted

addressing

Steinmann,

Portrait

is

was

an

painters

of

and

porbent

were

school

and

charactheir

all

Quattrocen-

Bosselli,

com-

sible.

pos-

Weakest

whole

have

to

come

on

is

at

to

various

painted

largely

the

Vespucci,

what

some-

and

which

of

Borne

instance,

the

traits

ity,

in

tonio

But

is

position

here

learned

spokesman

Pope.

the

aged

men,

for

Florence's
the

tine,
Floren-

portraits

Guid'an-

stands

of

David.

he

tines

There,

We

execution

accuracy

masters,

we

wall.

brother,

young

in the

right,

with

us,

the

by

in

as

balances

opposite

distinctive

so

begins,

Christ, which

Floren-

great
the

the

studying

from

has

Israel

Peter

here.

Testament
of

Baptism

of

was

his

grouping

of

method

New

the

the

of

Calling

Ghirlandaio

Domenico

The

with

Children

the

the

to

on

pass

which

from

taken
wall

right

the

the
little

formerly

guese
Portubehind

Queen

Savoy.
its

subject

stands
lower

being

Christ

Christ, giving

portion

of the

the

pic-

THE

Section

of

Wall

showing

Popes

Lucius

Fabianus

Pope

St.

SISTINE

and

CHAPEL

77

Caryatid

(Michelangelo)

Stephen

(Botticelli)

Pope

St.

Soterus

(Botticelli)

78

THE
is

ture

painted

so

with

glowing
with

porticoes,
Old

the

and

Law,

stand

and

out

be

of

the

in

On

is fdled

The

of

Ceiling

is said
of

figures

Sistine

the

pavement

building

and

typifying

Roman

clearly

follow

various

are

the

Solomon

attitudes

hair

with

in

of

arches,

sides

brownish

with

against

large octagonal

Temple

various

both

dark

rises

triumphal

Apostles

one

and

strong

background
to

Peter.

background

The

the

pair

Six

near

robes,

in

supposed

style.
five

to stand

as

light;

VATICAN

in

Christ,

while

in

eval
medi-

personages
be

to

the
in

men

tectural
archi-

painter

various

himself.

costumes.

Chapel

(Michelangelo)

In

this

in

Florence,

fresco

great

have
times

to

see

him.

the

Perugino
as

vivid

on

Adolfo

figures

is

of

that
in

the

much

so

charm

works

of

atmosphere

the

assertion

no

painting.
has
bearded

so

His

clearly

Apostles

only

of
that

who

great

Rome
Luca

helper

was

designed

shown,
are

been

seen

working

figures,

one

theless,
never-

which

sweetness

majesty

truth

in

this

had
The

and

and

power

this

himself.

impression
this

two

Umbrian

to

up

of

the

Venturi
the

who

revelation

new

of

breathes

There

Perugino,

wearisome

so

work

us

much

grow

whole

Pietro

gives

had

made

Piero

us

upon

Signorelli

on

the

it enables

that

and

at

But

master.

helped

Dei,

who,

painted
either

the

side

Christ.
The

last

fresco

on

the

right

is the

work

of

Cosimo

Rosselli,

as

empty

of

SISTINE

THE
feeble

and
the

cat

dog

all his

nor

Christ

to-day,

frescoes

has

Christ

the

spaces

in

the

Garden,

us

charming

perspective
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on

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the

even

roof

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marvellous

the

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the

of

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he

gives

us,

large windows

the

Betrayal

mean

and

IV

The

of

Christ,

feeble

this

of

the

this series

feeling

help

enjoyed

Ceiling

of

unity

cannot

we

Sixtus

it all is.

eloquent

nor

Not

excellent

the

79

the

and

whole

is.

composition
Even

Cross,

did.

ever

painting

at

showing
the

on

play,

at

pains

scenes

open

he

anything

as

and

CHAPEL

noble

Sistine

of

how

work

Quattrocento
beautiful

but

and

short

time,

Chapel

(Michelangelo)

for

died

he

the

consecrated

Mantegna
exists),

Rome

to
and

in

When

task

give
life.

up

which

to

meantime

VI

had

year

1483.

after

he

The

chapel

VIII

Innocent

his

decorate

25,

August

on

the

almost

had

private chapel

solemnly
remained

called

(which

Pinturicchio

enjoined

had

to

no

Andrea

longer

decorate

the

Borgia.
May,
of

work

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In

Alexander

Appartamento
mighty

chapel

till 1508.

untouched

12, 1484,

August

on

on

had

1508,

decorating
the

already
was

the

roof

of

of

Julius

monument

completed

smashed

Buonarroti

Michelangelo

by

the

for

his

he

had

Sistine,

the

II which

Bologna

infuriated

set

people

the

was

statue

hand

of
in

the

to

perforce
of

curse

the

1511.

great

to
his

tiff,
Pon-

Michel-

THE

80

angelo's

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roof

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him

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desired

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to

all the
of

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to

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him

put

so

The

of

the

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to

it the

great

emphasize

the

pain

putting
though
mind

in

which

It may

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well

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great

shade.

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to

body.

long

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the

monument

and

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name

to

the

on

his

of

to

decoration

as

Bramante

jealousy,

had

the

in

work

strength

decorated

works

recent

for

Pope

sculptor,"

"a

obliged

up

Sistine

the

10, 1508, and

May

up

himself

signed

master

with

contract

VATICAN

to

master

However

that

may

Deluge

(Michelangelo)

be, it is quite certain


work

to

go

His
see,
was

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first

and

painter,

parallel

for

Jacopo

one,

Bugiardini,

it

Sandro,
and

Michelangelo

and

he

roof

are

preserved

cut

up

walls

to

Agnolo

Jacopo,

into
of

his

by

was

his

in

di

chapel.

in

the

great

L'Indaco.

we

sides

Granacci,

Among
da

They

them

Sangallo,
were

all

ning
run-

angelo
Michel-

preparations

work.

now

design

The

sizes with

Francesco

Bastiano

what

Museum.

his

to

openly.

from

various
In

friend,

Domino,

surnamed

of

squares

faithful

help

British

the

have

to

sorry

disappointment

different

very

the

sincerely

was

showed

the

painters

many
di

the

to

assisted

was

selected

for

plan

studies

geometric

that

who
were

Giuliano
excellent

THE

CHAPEL

SISTINE

Drunkenness

The

of

Noah

(Michelangelo)

The

Sacrifice

of

(Michelangelo)

Noah

81

82

THE

The

VATICAN

Creation

of

Adam

(Michelangelo)

The

Creation

of

(Michelangelo)

Eve

SISTINE

THE
fresco

had

let

locked

them.

said, and

four

For
there

on

below

He

so

high

do

scaffold,
in

the

Original

on

Sin

and

the

the

five

looked

chapel

painters

door

around

all alone.

October

31, 1512, he

his

creations,

own

Expulsion

for

eager

Michelangelo

with

changing

church,

very

found

work

mighty

with

alone

work

no

the

all

were

time

they

day

ending

years

ceremonies

the

could

For

do.
one

set about

he

continuous
his

then

talk, and

them

against
he

him,

they could

83

and

Rome,

to

come

what

of showing

them,

at

who

painters

chance

CHAPEL

from

from

worked

up

while

down

of

festivals

joy

to

Eden

(Michelangelo)

periods
by

day

of

visions

new

from

the

time

with

marked

mourning,
of

mass

the

and

men

he

forced
he
the

could

found

no

allowed

August

relief
work

mighty

uplifting

and

of
him

the
to

paint

sons

recruit

14, 1511, when

that

of

man.

himself
the

first

and

with

part

exertion

for

of

few
the

the

and

in the

of

Julius

days'
frescoes

brief
was

home

life

being

position,
thought

God
II

his

endless

from

strained

honor

again

his

torture

in

was

passed
the

by
of

he

as

he

ecstasy,

head

Day

men.

off

cut

Wounded

physical

his

on

Now

common

and,

infelicities

the

with

engaged

was

mind,

suffering

roof

for

fantasy.

over

in ever-increased

save

he

and

time

superhuman

his

sorrowful

forget,

never

to draw

of

of

great

in

rapt

children

mighty

flight

fill his

to

came

plotting of his enemies,


that

the

and

of
the

unwillingly

rest.

And

uncovered,

on
we

VATICAN

THE

84

The

Creation

of

Light

(Michelangelo)

The

Creation

of

the

Sun

(Michelangelo)

and

the

Moon

THE
find

brief

mention

of

SISTINE

of

ceremonies,

who

artist.

The

remainder

of

October
Let
door

run

of

which

in
the

the

over

the

earliest

we

can

various

find

painters

point

any

schools

or

The

of

the

and

Land

from

find

we

one

the

between

the

great

uncovered

on

beginning

of

the

at

the

Deluge

few

the

in touch

come

papal

the

death-bed.

where

similarity

of

and

roof,

also

Grassi,

name

his

on

the

on

and

had

de'

the

was

paint

of

he

Separation

II

time,

points

Paride

completed

was

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of

of

mention

painted

began

85

diary

to

Julius

subjects

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the

work

time

Michelangelo

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one

"

31, 1512,
us

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which

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fact

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master

CHAPEL

subjects
and

master

with.

Water

(Michelangelo)

Between
Maria

the

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paintings

of

the

nudes

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than

in

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owing

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these

others.
to the

and
is

if

introduced

the

on

draperies

paintings

height

two

his

you

was

his

and

size

love
will

the

of

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for
find

roof

believe

us

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had

for

figures

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to

them.

quickly
enlarge

two

instant

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are

as

enness
Drunk-

these

In

antiquity.

the

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he

real, but
for

lif e -^the

Ark.

classical

S.

of

Michelangelo,

from
the

than
look

to

Death,

scenes

make

Cloister

rather

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first attempt,

of the

Green

ideal

are

knows

spectacle

Sacrifice

displaying

This

links

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horrible

has

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in

Uccello,
the

Deluge

the

view,
and

Michelangelo

look

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the

Noah

Paolo

there

are

vision

mitigate
of

that

they

his

Around

this

and

Novella,

nevertheless

of

Deluge

If you
smaller

found
them.

out

86

THE

The

Prophet

Zechariah

VATICAN

The

(Michelangelo)

The

Delphic
(Michelangelo)

Prophet

Joel

(Michelangelo)

Sibyl

The

Prophet
(Michelangelo)

Isaiah

THE

The

Sibyl

Cuiiiiran

SISTINE

87

CHAPEL

The

The

Prophet

Daniel

(Michelangelo)

Persian

Sibyl

(Michelangelo)

(Michelangelo)

The

Prophet

Jeremiah

(Michelangelo)

88

THE
Let

us

scenes

and

of

roof.

centre

very

pinnacle
against

out

God,

from

the

who

calm

fair

earth,

still

at

are

human

teach
lot

it is

that

of
of

efforts

In
of

the

has

synthetic
that

Roman

but

the

"

that

Man

but

Land
face

picture,
broods

Schools
in
of

commerce

quality

place
and

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led

around

the

race

as

to

companion

with

Petronio's

S.

before

the

finding

of Adam.
work

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of

art

realism

the

on

its

"

of

monumental

passing
with

others.

between

great

the

on

Creation

of

contact

build

the

not

human

ter
mas-

Michelangelo

the

lamps

every
to

the

and

Creation

Duecento

Michelangelo
it,

the

Giotto

which

the

of
for

necessary

of

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points of

that

our

scenes,

which

halo,

or

with

mind

the

first appearance

relief

Bologna

equal

on

man's

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denying

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by Raphael

the

to

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allegory

crown

adorned

taught

compositions,

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simof

events

day

forth

Deity

is set

compose

the

Creation

of

pictures,

the

Creation

of

Water.
the

is lighted

over

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synthetic

Light,
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imitated

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look

of

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Eve

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birth

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which

might

quality

eternal

in
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Ezekiel

Prophet
(Michelangelo)

infinite

depict

which

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ken;

our

the

attention

sculptured

to

the

is, indeed,

one

to
ator.
Cre-

Quercia

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call

quality

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souls

in

della

synthetic

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representing
to

works,

simple

terialism
ma-

and

conception,

Jacopo

two
one

tragic

within

how
In

Bologna.

at

their

more

known

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to

the

drowned

earth.

introduced

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pictures showing
is

not

are

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way

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very

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great-

our

imprisoned

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souls

ever

bodies

to

its

imaged

between

our

our

their

the

lessons

has

struggle

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wing

easiest

mind

us

in

of

of the

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and

symbols
the

touch,

seems,

part

once

that

divine

that

body

through

limbs

The

life at the

inertia, to be

alone

forward

angels

sky.

into

been
stands

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comes

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has

art
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group

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solitary peak,

crowd

spring
the

of

figure

The

with

the

Noah

Eve

Adam

in the

scaled.

the

from

on

pass

to the

VATICAN

the

Creator,
up

wide

with
expanse

which

paternal
of

to

seems

the

lack

tenderness
seas

that

all emotion
in

know

the

in

third,
not

yet

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where
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first
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shock

THE

CHAPEL

SISTINE

The

Last

Judgment

(Michelangelo)

89

VATICAN

THE

90

The

Figure
(Last

of

the

Redeemer

Judgment)

SISTINE

THE
of

the

purest

of

Michelangelo

color
of

idea
a

Seven

the

did

he

us

to

the

Sistine
of

of

the

the

of
side

Prophets

the

with

whole

concordance
in

manifest

legendary
paganism
which
The
is not

figures
a

deep

who

here

in

of

her

meaning

had

as

them
on

person,
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together

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of

story

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come

whose

inner

first touch

very

entertained

the

by

in

Last

the

Judgment

1535.

Christ

and

New

the

with

spiritual

expectation
Hill

transcending

Prophets
the

decorations
The

side
law

of

Testament

of

of the

the
and
and

the

speaks

historicity of

to
to

Sibyls
the

the

worlds

of

love.

Christ

the

phetic
pro-

dispensation

new

of its great

by

is clearly

associated

were

union

foretold

spirit is here
The

in

whom

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fig-

imposing

Law.
New

bonds

the

Ages

used

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in the

Capitoline
but

Sibyls,

always

chapel

been

Old

in their

companions.

often

of

Five

Middle

the

Prophets,

proof

Serpent.

he

around

of

Saints

the

Christianity

to knit

Sibyl

Sibyls

the

Goliath;

the

Judgment)

of

and

of

case

Sibyls

the

until

period

between

the

and

was

and

Apostles

the

painted

that, from
roof,

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(Last

has

Brazen

the

think

to

decoration

Group

Throughout

the
and

really undertake

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slaying

and

Prophets

leads

put
the

completing

work

David

Moses

Haman;

91

Michelangelo

above

heroism:

significance

symbolical
of

lunettes

human

and

Esther

pictures

the

"

of

types

Judith;

the

In

storm.

CHAPEL

Augustus
us

in

have

person

the
each

or

the

THE

92
and

legend,

the

meaning

Zechariah,
of

books
the

the

of

temples

in

day

of

is

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and

the

index

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of

to

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them

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to

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church

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worship.

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light

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to

Valley

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judgment

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stands

old

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VATICAN

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Angels

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Deity.

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union

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in

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of

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the

his side.

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eager

THE

Angels

bearing

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(Last

Angels

bearing

the

(Last

93

CHAPEL

SISTINE

Emblems

of

the

Passion

Judgment)

Emblems

Judgment)

of

the

Passion

THE

94
How

much

of

maiden
she

him,

the

surely
and

all

Rome

the

the

faith

and

strength
of

history

book.

Wrapped

in her

from

head

events

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foot

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hidden,

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ancient

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traces

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robes

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with

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of writing.

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mien

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rent
tor-

in his God.

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placid

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the

Glory.

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the

Resurrection,

him

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around

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here

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as

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of

throne

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ure
fig-

of

words

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many-eyed
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at

near

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alert

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Ezekiel

VATICAN

Sibyl is
ity
conform-

In

the

traditions

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symbolism

face

handed
Figures

in

down
Middle

Ages,

against

all threats.

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attitude

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the

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Libyan

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in

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tional
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under

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beauty

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while

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leviathan,

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take

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the

whereon

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in

and

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and

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Borinski

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master

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dead.

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APPARTAMENTO

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and

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Alexander

satisfactory

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recollections.

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would
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painful

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magnificent

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of

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man;

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the

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depend

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death

Alexander

of

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was

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prehend
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Bernardino

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Penitenzieri,

Chapel

of

sometimes

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others,

Pinturicchio,

II

thus

(and
and

in

VATICAN

THE

108

new

abandoned

gilding.
for

research

vegetable

and

kingdoms

for
were

the

tastic
fancom-

APPARTAMENTO

THE

David

in

bined

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monuments
all fours,

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and

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109

BORGIA

as

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degree
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produce

external
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art

110

THE

VATICAN

APPARTAMENTO

THE

BORGIA

Nativity

The
Hall

magnificence

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hands

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of

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covered

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111

executed

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unity

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THE

112

VATICAN

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the

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num

THE

APPARTAMENTO

BORGIA

113

114

THE

VATICAN

The
Hall

ber

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and

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is enlivened
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figures,
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APPARTAMENTO

THE

Details

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mean

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Resurrection

the

of

Hall

115

BORGIA

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all

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116

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117

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138

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143

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144

THE

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163

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164

THE

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165

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Gimignano,

Raphael

even

he

Bologna,1

there

worked

which

work,

Thus

San

stucco

the

at his

made

Seeing

greatness,

Giulio

paintings, though

Francesco

and

the

and

work

stucco

the

who

planned

the

and

and

left unfinished

plan.

his

designed

decoration,

the

in

of

record

better

Bramante's

did

than

decoration

stairways

papal

but

anew

171

says:

the

by Raphael,

only

not

were

Loggie,

Rramante,

designed

and

them,

the

designed

Raphael

galleries were
of

of

speaking

in

Vasari,

"Moreover,

RAPHAEL

OF

LOGGIE

THE

of

work,

imagine

he

for

Florence
stucco

that

that

it.

skill

anything

perfect."
Hence

we

see

that

Vasari

lBartolomeo

attributes
Ramenghi,

called

the

whole

also

plan

Bagnacavallo.

and

its

designs

to

THE

172
the

and

master

attempted

exclude

to

supervision,
is

there

in

than

of

justified
far

As

as

not

the

His

in

in

the

guiding
three

remaining

them

is it

paintings

their

one

these

nowhere

in

first

eight

is also

to

of

was

for

save

and
which

other
the

rino

del

All

of

called

presents
the

under

Raphael
and

those

only

and
Dtirer

is also

in
a

the

of

of

the

the

name

of
the

Not
scene

that

so

of
the

with

at

plan
to

striven

for

these

find

of

leave

classical

the

to

have

too

not

ciently
suffi-

and

warm
are

say

interpreted by

the

whole

living

men

in art.

find

the

out

of

not

by

any

Masaccio,
Rachel

sculpture.

at

from

sources

The

Michelangelo's

meets

list,

wondrous

lines

almost

compositions.

traces

Jacob

where

memory

work

merit,

iconographic

colors

whose

might

we

to

recall

Noah

few

times

period

have

with

landscapes

Cinquecento

barocco

Pe-

Loggie

down

weighed

were

tints, and

critics

their

strong

remain-

the

his

severity.

the

arcades

relating
for

among

on

heads

effect

and

The

shared

down,

drew

work

the

ought

spell

Students

be

Udine.

flesh

the

scenes

animals,

to

painters

toned

II Fattore,

of

One

brick-colored

ar-

Fran-

landscape

which

guided

the

nine

that

the

that

first

thirteen

impression

but

work

Vaga

designs

very

the

and

it

to-day,

believed

work

ing arcades,

have

time,

any

ment

pupils

them

the

that
to

form

da

is

to

time

said

are

pupils.
work

the

Giovanni

the

perhaps

rations

pictures

the

in

are

ing

the

his

truly

are

actual

Penni,

cesco

but

evidence

Raphael's

generally

painting

doubt

seen

we

judg-

is

general

galleries,

arcades,

have

No

more

hand

entirety

of

theory.

to

easy

cades

but

anywhere

in

save

from

accurate

of

such

resto-

made

it

for

ow-

wretched

is

the
brain.

for

As

part

critics

recent

it

the

concerned,

been

which

Some
in

and

place,

attributing

in

brush

master's

the

follow.

that

two

of

arcades,

the

children

all

foundation

no

whole

the

pupils.

from

of Raphael's

spirit animates
the

is

his

to

Raphael

there

but

trace

no

itself

work

the

VATICAN

work
means

and

the

which

Creation
in
in
there

well,

scenes

the

Sistine,

their

is

while

vigor
hint

of

there

THE

petty thefts,

these

But

from

away

the

that

saying

of

almost

might

scenes

the

the

by
the

When

reach

we

that

recognize

owing
framing
and

the

motion

Arcade:

the

style

The

dark

cupola

of
red

is the

Waters.

the

work
Beneath

Udine,

of

the

the

X,

were

tions
crea-

beauty

and

filled

with

so

whole

cycle.

spirit of Virgil from


of

the

work

ning
beginchanges;

becomes

coloring

brighter.

work

is somewhat

the

without

the

aid

New

Testament

of

the

the

the

Separates

being, which
flesh
of

for

same

tints

Giulio
the

each

Light

is here

decorations
mosaics

figures,
used

bears

figure of

God,

about

the

Vasari

Divides

suspended

With

exaggerated

and

what
God

Darkness.

the

brings
out

(2)

Romano.

arcades.

two

from

enlarged

God

we

master

begin, which,
The

completed.

never

and

feeble,

(painted tapestries, pilasters, grotesques,


remain

We

Rebecca

from

scenes

Michelangelo

of the

da

working

are

Leo

(1) God

his whole

of

the
of

frescoes

flying angels)
First

the

death

the

to

pupils

is where

This

hand.

the

the

thirteenth

the

and

of

poem

and

Isaac

full

character

in

beautiful

most

moving

the

take

not

hesitation

no

Giovanni

the

dominate

elements

the

charm

do

recourse,

have

we

of

one

idyllic

arcade

ninth

has

and

breathes

work

173

artist

work;

simple

to

RAPHAEL

through

"

that

this

run

light, add

say

dramatic

the

to

landscape

After

to end.

every

of

Renaissance

and

atmosphere

which

to

about

are

The

serenity.

OF

importance

we

the

LOGGIE

in

the

after

separation.

says,

the

that

this

Land

from

bright

heav-

C 174

shape,

rounded
waters
whereon

the

and

is

also

is

in

as

he

is

space

of

through

the

shapes,
figure of

The

of

God

wards
toand

rolling
(4)

The

Moving

God

all

causes

of

tastic
fan-

appear

upon

it.

is

longer

some

to

his
and

sun

Animals.

earth,

God

but

is

below.

the

animals,

of

arms

the

world

Creation

the

his

of

globes

through

sign
de-

spectator

forth

The

moon.

This

design,

to the

stretching
the

of

figure of

former

the

has

trees

Creation

Moon.

The

is turned

back

land,

reminiscence

Michelangelo.

the

the

of

(3)

to appear.

Sun

the

from

clump

begun

which

on

distinct

are

175

its

takes

globe

terrestrial

the

ens,

RAPHAEL

OF

LOGGIE

THE

them

no

in
Portion

the

strong

we

here

discern

Second

Arcade:

who

Michelangelo

has

here

put

Giulio

Sin.

is

for

Expulsion
gate

of

and

such

from

Adam

First

of

Toil
while

Third

showing
ark, the

Man.

Cain

his

hide

sons

of

face.

is
Abel

how

Ruilding

seen

must
in

set
the

two

the

tradition
is too

(7)
stands

The

at the

shame-stricken
with

figures

are

her

hands,

copied

from

Florence.

at

ground
back-

coloring

sword

of

act

The
is

the

The

Church
in

side.

nakedness

These

is coiled

reserve.

flaming

her

around

but

without
a

two

cover

sowing

seen

Eve,

certain.

which

There

the
that

says

left, is in

sinners.

Carmine

play

they
is

the

of

in

means

no

have

We

folds

The

other

God,

landscape,

Vasari

the

the

Romano.

helpmeet.

art.

painting.

with

the

fertile

it is by

to

accepted

his

in

Giulio

tree, around

on

figure

to

(9.) The

which

erect

can

in

Adam
and

Eve,

angel

away

she

Masaccio

Arcade:

hull

to

the

be

An

driving

strives

arcade,

this

to

of

his

but

landscape

painted
tradition

Loggia

wonderful.

are

is seated

of

piece

best

as

by

who

In

Adam

stands

head.

hand

subject

cloak

this

Paradise.

Paradise

fresco

the

the

the

Eve.

of

showing

centre

Adam,

himself

seeks

woman

the

wondrous

Raphael

severe

in

human
to

is

Father's

In

fruit

Creation

treating

worked

with

serpent

offering

that

Eternal

the

Romano

(6) Original
a

of

of

traces

earth,

on

method

of

drapery

(5) The

of

and

unmistakable

foot

new

style,

Eve

field, and

(8)

appears

The

ning,
spin-

her.

of

the

about
distance.

Ark.

Noah,

preparing
The

the
work

an

old

timber
bears

man,

is

for

the

traces

of

THE

176

VATICAN

Saved

Moses

Penni's

Francesco
the

and

One

another,

drowning
While

and

another

men

are

Here

but

Promise
back

to
to

numerous

it is not

the

to

believe

quite

(13)

The

onlooker,

offspring.

and

sons

In

Vasari,

have

we

are

centre

the

lamb

two

rear

Ark.
seen

the

slaughters
the

arms,

the

family
In

is

from

from

in the

appears

his

woman

Sacrifice.

ready.

camel

his

rider

in

ground
back-

young

background.

work

of

Giulio

certain.

Abram

forth

and

of his

one

Forth

Coming
Noah

victim

bulls, and

two

The

ark,

dies

rescue

(12) Noah's

second

to

is surrounded

Abram.

(11)

who
to

the

foreground

the

woman

trying

In

Deluge.

in

on

altar, while

an
a

and

is

the

flood.

the

are

brings

He

wine.

her

hair.

holds

we

child,

Nile

Universal

terror

up

before

Arcade:

Jerusalem,

of

if

The

leaving

of

leading

seen

Fourth
of

ruin

the

waters,

in
a

are

son

again,

Romano,

man

praying

the

on

holding

the

(10)

looks

animals

lamenting
is

seen

by grasping

the

Noah

is

ark

drowning.

style.

from

by

two

(15)

is

on

appears
The

Visit

Melchisedeck,

baskets

warriors

patriarch
God

Melchisedeck.

and
Abram

of

and
his

him

of

the

and

shepherds.

knees

to

bread

in the
on

Three

King

four

(14)

jars
God's

foreground,

high, promising
Angels

to

his
him

Abram.

THE

Candelabra

in

the

Loggia

LOGGIE

decorated

by

OF

RAPHAEL

Detail

Mantovani

Decorations

Door

from

the

Ornaments

in

Pilasters

the

showing
over

177

Arms
in

the

of

Gregory

Loggie

Candelabra

XIII

(Mascherini,

Sermoneta

and

Nogari)

the

the

In
men,

of

front
who

his

is

to

seen

forward,

been

Fifth

his

on

seated

to

the

and

from

father's

on

Esau

Francesco
bedside

work

in

Jacob

salt.

This

In
in

to

be

the

In

Lot

who

the

ground
backcomes

looked

work

also

back
is said

In

(19)
his

This

country.

Asking

seen

her

Isaac

looking

watches

in

Him.

at

At

shows

door.

is

ground
back-

certainly

patriarch
the

The
who

The

son.

is

them

Jacob.

Jacob,

to Bless

the

of

country,

open

bless

to

encouraging

wild

atrium

Blessing

Isaac

hand

is

Rebecca

the

the

on

Isaac

landscape

clouds.

Abimelech

blessing, while
are

fair

the

looking
King

seen

(20) Esau

is asking

wife,

Rebecca.

raises
is

hunting

style of Penni.

to

is Penni's.

couch,

The

him

balcony

The

People

Isaac.

to

in embrace.

Rebecca

and

of

thought

distance

near

the

to

Embraces

is

the

young

door.

Penni.

appears

seated

Penni.

Esau

Rebecca

is in the

Isaac

his

foot.

at the

surprise.
work

The

patriarch,

of

(18)

are

window.

shows

work

God

in

statue

Appears

and

background

Rebecca

kneeling

by

left.

whose

palace,
Isaac

into

is

the

Sodom.

Leave

hand.

Francesco

(17) God
knees,

the

by

turned

executed

Arcade:

seen

aged

been

has

Sodom,

to have

is

his children

leading

on

three

the

from

fresco

The

Law

the

before

looking

city, and

Presenting

Moses

knees

Family

his

burning

is

landscape.
and

Lot

(16)

is to be

his

on

Sara

him.

charming

Penni.

of

is

Abram

house

speaking

are

background
work

at

VATICAN

THE

178

the

his
his
The

LOGGIE

THE

in

and

angels
in

lost

glory

Rachel

and

hand

the

at

before

to Jacob,

speaking

and

has

who

David

The

(23)
his

Jacob

an

ass

the

road

and

injured.

own

by

country.

his
The

which

his

on

her

their

quench

is

Jacob

(22)
holds

who

staff

pilgrim's

six

of

top

Father.

flocks

the

ground
fore-

by

thirst.

shoulder.

Bathsheba

by

Jacob

goes

Jacob

stands

(24)

to

Jacob's

flocks

see

Laban,

who

the

seated

camels,

on

shepherds

has

tending
Jacob,

children

and

landscape.

Rachel,

Flight.

and

women

charming

are

seen

is
on

ahead.

Seventh

Arcade:
as

dream.

Near

accompanied
his

to

Hand.

him.

is badly

and

the

God

is enhanced

scene

Rachel's
with

Leah

fresco

The

returning

whole

the

Seeking

daughter

flock.
on

of

poetry

the

the
where

in

centre,

bond-servant

while

well

asleep

the

ladder

of

figure

the
Rachel

Well.

the

descending

and

surrounding

standing

are

is

Rachel

ascending

seen

are

lies

towards

head

his

turns

ecstasy

Jacob

Ladder.

Jacob's

(21)

Arcade:

Sixth

179

RAPHAEL

OF

young

They

are

(25)

boy,

Joseph

Telling

is standing

reclining

on

while

of

his
he

Dream.
tells

sloping ground.

Joseph,

his

brethren

The

flock

sented
repreof

is to

his
one

THE

180
side.

In

the

sky

the

dream.

Sold

by

has

handed
who

Joseph

his

leaves

cloak

in

and

designs,

(28)

Romano.
Pharaoh's
with

explaining

the

dreams,

are

represented

light

the

on

Giulio

to

portico

the

background

him

to

his

perhaps

Interpreting

and

puzzled,

seen

The

tapestry

is

On

landscape

is

hands.

Joseph

and

flight

rich

Dreams.

king

is in
her

draw

to

attributed

properly

very

Poti-

and

work

the

the

is seated

with

is adorned

room

one

tries

He

out

of

woman

her.

to

four

to

Joseph

and

couch

on

to

The

Wife.

phar's

open

Joseph

counting

are

(27)

brethren.

Joseph

over

price

agreed

the

of

foreground.

the

merchants

events

The

Brethren.

been

just

in

(26)

Romano.
his

circles

is attributed

work

The

is in

well

the

depicted

are

Giulio

to

luminous

two

VATICAN

the

meaning

events

of

in

is

Joseph

of

which
of

circles

two

upper

portion

Arcade:

(29)

of

the

picture.
Eighth
from

Saved
Nile

as

the

looking

are

very

fine.

(30)

The

host

of

his

(32)

drowning.

The

rod

figure
Ninth

Father,

of

God

Arcade:
in

the

is

sea,

while

forth,

among

seen

Moses
and

the

hits

look

is

on

is

in

the
The

Moses

right.
his
the

by

Sea.

Red

is

hands,

are

army

rock,

from

amazement.

clouds.

Receiving

surrounded

his

work

the
and

Moses

Hebrews

in

to

the

it is uncertain.

of the

off

from

distance,

the

This

Pharaoh

Rock.

the
the

hidden

Crossing

which

taking

in
but

appears.

moving

are

in

is

itself

face

his

maidens

beautiful

six

Romano's,

God

VII

Clement

Century)

women

losing

(31 ) The

baggage,

Striking

(33)
clouds

which

one.

the

Moses

gushes

water

with

Moses,

their
over

river

is Giulio

within

preceding

Israel, with

stretches

which

the

as

the

of

one

the

work

Bush.
bush

and

of

Arms

(Sixteenth

daughter

that

the

showing

the

with
the

says

Burning

artist

child

landscape,
Vasari

Door

Pharaoh's

male

before

kneeling
same

at

The

basket.

With

Water.

background,

Moses

the

by

Tables
a

glory

of the
of

Law.

angels,

is

God

the

seen

on

(34)
knees,

going

the

mountains,

the

to

on

(35)

them.

breaks

his

as

the

among

it.

in
the

Law

of

the

law

the
cross

(37)
old

an

man

priests carrying
dry-shod.
over

followed

the

by

fall, giving

designed

free

this

in command
to stop

the

of

tables

cloud

Eternal

rises

is

of

one

being

Moses

(36)
Moses

mound

This

the

drops

pillar

the

it.

before

people.

from

Sheba

figure of

raised

he

dances

shows
the

cealed
con-

Presenting
the

finest

tables

tions
composi-

galleries.

in the
TenthArcade:
as

assembled

the

to

From

of

Queen

the

The

their

on

down

coming

seen

Cloud.

kneeling

seen

People.

the

to

is

Moses

and

Hebrews,

encamped

is

is

shown.

altar, while

an

upon

Moses

are

people,

spectacle

the
of

Pillar

Israelites

Hebrew

The
set

meet

eyes

The

Solomon

up

gold

tables.

sacred

the

left Moses

the

On

right.

and

Calf.

of

calf

of

tents

Golden

the

worshipping

are

are

and

of

Adoration

The

the

the

Moses

to

over

below

plain

the

In

kneeling.

handing

Sinai

of

summit

the

181

RAPHAEL

OF

LOGGIE

THE

in their

The

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at

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Leonardo's
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few

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His
to

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the

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to

pieces

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had

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picture,

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and

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canvas

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to

church

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Alunno)

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ter
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by Raphael

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them

Raphael.

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St. John

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life

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than

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Credi.

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is
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A

THE

NEW

PICTURE

GALLERY

207

VATICAN

THE

208

The

of

Virgin

from
in

this

In

we

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room

Northern

Moroni

Battista

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and

period
his

of

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of

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of

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II

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of

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too,

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School,

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Bartholomew

of

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St.

paintings

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reveals

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man

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Child

painting
near

sketch

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Among

identifies

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Maria

of

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Italian

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of
date

Florentine

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the

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brightness

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But

from

Hall

fresco

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1537;

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angel

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which

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to

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pictures,

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instrument.
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musical

Both

is

saints, while

painting

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vases
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The

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good

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the

given

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209

Melozzo

two

of

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Palmezano.
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is

GALLERY

Forli, whose

da

between

honor

of

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as

Melozzo

celebrated

is

room

known

PICTURE

NEW

THE

of

period

activity, although

the

they give

The

Madonna

with

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Saints

(Perugino)

of

evidence

no

We

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between

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Leo

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Raphael

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action

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and

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As

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the

reign
The

spectator

satirical

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The
at

figures

indomitable

Pope
Rovere,

special
perfection
the

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spirit of

in

as

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the

of

with
must

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the

go

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to

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characters

living

peculiar
humanist

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grouping

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wards
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of drawing,

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Gerolamo

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Apos-

fresco

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Library

portraits,

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re-

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it transferred

The

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reveal

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Michelangelo.

intensified

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setting,

Raffaello

Julius

Pope

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perspective

Papal States),

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traces

had

Library.

by his nephews,

of

XII

Gallery.

Apostolic

the

majolica

humanist

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and

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worthy

more

Picture

the

to-day

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ceiling

of

this fresco

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IV

Sixtus

When

masterpiece.

in 1477, he

windows

condition,

poor

given

powers.

Melozzo's

Library

two

tolica, where
on

enfeebled

persons,

tics.
characterisis shown

in

210

THE

VATICAN

GALLERY

PICTURE

NEW

THE

211

Annunciation

The

(Raphael)

his

Pope

appears

fifteenth

of the

aerial

of

artistic

worth

unless

century

to-day

even

and

execution

seen

we

for

Pacioli

Luca

lucidity

ter
mas-

this fresco.
from

us

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shar-

Melozzo's

grasp

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unrivalled

the

prevent

of

splendor

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sible
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Romagnolo

studied

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of

will
It is

jaw.

this great

perhaps

may

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powerful

of

and

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of

his

has

one

painting

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of

skill

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in all the

firmness

the

developments

later

of

the

appreciate

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in

the

lips, while

tightly closed

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sharp

future

the

coloring.
The
and

third

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assembled

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gentle

grace

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faloniere

Virgin

are

of

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masculine

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painting here, formerly


simplicity

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at

four

and

candor

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in

kept
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Florence.

beautiful
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wherein

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the

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Gentile.

Library,

Virgin suckling
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of

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to

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St. Nicholas's

of

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Fabriano

1365,

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of

in the

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Fabriano,

being

introduction.

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Umbria

works,

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Marches
da

and
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by

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Gentile

Nuzi

artist

Another

characteristic

To

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to

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Primitives

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on

triptych by

with

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of

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in

is

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These

of

has

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her

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to

Siren,

the

Gon-

paintings

de-

THE

212

The

VATICAN

Adoration

of

Magi

the

(Raphael)

miracles

the

pict

the

Maidens,
the

Saint

very

the

be

the

as

painted

Three

from
this

Men,

shipwreck.

and

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actively paved

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to the

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for

way

Three

Apparition

certainly

They
exercised

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Gift

Birth, the

his

Young

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of Gentile's

with

know

research

to

background

Niccolo

so

in

away
The

di

of

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ence
influ-

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of

and

and

d'Achiardi,

the

Virgin's

this

head

fortunate

as

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find

the

painting

part

the

head

of

the

ment,
fraghead

ing
interest-

diligent
the

removed
of

is

uted
is attrib-

the

that

addition,
of

remainder

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to

noticed

her

be

It may

recent

Child

supposed

graceful

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is due

picture

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to

in

This

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discovered

Gentile,

Sanseverino.

di
of

di

Virgin

gold.

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also
the

shows

blue

woven

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master;

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Madonna

in the

Francesco

by

Fabrianese

restoration

gold
this

St. Anne.

painting

den
hid-

storeroom.
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Liberatore
in

Montelpare,
male

the

principal

three

attention

of

Professor

and

then

Butterfly

(Jr.) d'Alessandro

background

was

the

St. Anne,

cloth

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and

Lorenzo

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to

the

Virgin

encircled

is evident

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Virgin's shoulder),

of

son

of

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near

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(known

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female

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Niccolo

room.

1466;

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saints

Perugino,

masters,

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Niccolo
has

Alunno),

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many

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panel

Pinturicchio,
claim

the

and

visitor's

polyptych

from

has

rows

and

two

representing

the

NEW

THE

GALLERY

PICTURE

The

Presentation

in

213

Temple

the

(Raphael)

known

Its three

town.

with
the

with

four

of

the

but

turicchio,
is

Virgin
as

This

pure

Raphael,
at

gino.

the

oval

the

part

also
the
that

and

of

tradition
even

of

the

Friars

has

the

Unfortunately,

risen
the

the

Christ

picture

the

pression
ex-

indeed

to Pin-

ship
of its authorof

Coronation

of

Fratta

twelve

the

painted,

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the

well-known

Perugia

in

in

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and

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that

in

anguish

This

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are

upper

David

discussion

Minor

painting

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grotesque.

is the

Friars

the

St.

and

is attributed

by cherubim.

St. Francis

declares

that

gether
to-

cross,

outlet

the
the

Child

Pinturicchio's

for

the

with

St. John

an

scene;

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restored

contains

Church

sight of

of

order

finds

reaches

Virgin

surrounded

1500

lower

of

room

for

painted
so

the

In

the
much

so

about

says,

saints

several

is

almost

of

Resurrection,

artist

Crucifixion

in the

foot
shows

that

decorated

peaks

St. Venantius.

the

showing

Assuredly

luminous

Vasari

Perugia.

been

useless.

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in

it has

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and

St. Peter

of St. John

showing

fragment

on

Folignese

the

grief

face

the

panel

in

Crucifixion

the

the

at

the

triptych

Collegiata

with

shows

panel

is the

work

the

framed

Magdalen

scenes

of

and

piety

distorts
fresco

have

intensity

of
which

the

the

left shows

the

on

triptych

The

Isaiah.

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from

comes

central

this

than

richly

are

The

angels;

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Porphyry;
parts

compartments
St. John,

Madonna,

it

because

flourishes.

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famous

More

Camerino,

the

as

Virgin.

the

of

Coronation

this

has

figure

portraits
been

many

Resurrection,
1502.

the

painting

sleeping
are

in

of

and

collaboration
the

Raphael

times

drawing

The

of

figure
and

restored.

ing
flee-

Peru-

In

better

state
and

preservation,

of

in color

intense

more

is the

expression,

and

Benedict),

Perugia,

Peter's,

carried

was

France

to

away

of

end

which

of

smaller

few

pieces

Perugia

at

now

and

section

this

only

at
Sette-

the

and

cento,

were

recovered.

ever

fine

very
of

the

ing
paint-

Umbrian

the

private

Pope's

is

apartments,
of

Virgin

the

showing

the

between

Sts.
Paul

the

An-

Romano's

toniazzo

and

in

formerly

school,

Rota,

Virgin
Peter

receiving
of

homage

faces

of

the

1507

It

Spagnolo.
in

depicts

work

ricchio,

by

bright

novel
it has

even

his

as

announcing
is bounded

the

St.

in

the

which

good

above

are

della

attributed

the

Magi.

So

to

Child

on

retinue

the

shepherds.

angels

holding

other
an-

The

of

Lo

or

and

Todi,

is

Pintu-

to

being

cushion,

the

angels.

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beautiful

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seen

to

Spagna
near

three

three

1515,

Spineta

of the

the

Spineta, painted
Lo

as

and

tidings
by

in

portraitist.

dated

della

known

better

It shows

Joseph

as

Assumption,
Madonna

Convent

been

times

Raphael.

to

the

Adoration

the

way
at

Mother,

landscape

of

is the

di Pietro,
in

of Antoniazzo

fame

the

also

formerly

was

Foligno

striking individuality expressed

triptych

work,

most
that

and

adored

angels

confirms

Giovanni

by

The

Rota.

the

Auditors

important
about

of

Madonna

(Raphael)

dell'Amatrice's

Cola

this

The

the
of

Auditors

twelve

in

altarpiece

which

the

the

from

fragment
great
St.

Fla-

(Placidus,

and

via

Three

the

picture of
Saints

VATICAN

THE

214

is

background

the

Magi

The

scroll.

and

noble

the
position
com-

Notwith-

only

not

must

that

by

artist who

rare

the

In

next

of

works

Raphael

this

the

the
of

preceding

well

known

toric

to

themselves,
of

his

the

"

special

is

paintings
who

master
ence

gin
Sts.

Louis,

of

of Monteluce,
Monteluce

the

Giovanni

not

Pistoia,
the

which

before

no

to

after

the

Raphael

it

possible

his

and

the

same
was

to

the

school,

only

to influence

Vir-

death,

by

painted

of

the

the

the

Penni;

munal
Com-

Madonna

father,

since,
years
in

any

works
as

according
this

was

is

to
one

The

painting

around

is well

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old, and
way.

of

Convent

style of Raphael.

mighty

eleven
him

of

nuns

Santi, Raphael's

comparison

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the

was

chapel

painting,

Romano

actively spread

this

the

by the

executed

Giulio

for

second

Raphael

Giovanni

when
was

The

was

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most

belong

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died

and

by

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and

1496.

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by

surrounded

Constantius;

by Perugino

from

master,

St. Jerome

tempera,

it does

of

in

three

most

namely,

Transfiguration

and

coloring

ordered

works

two
the

the

Herculanus

Perugia

was

near

designs

third,
in

of

special vigor
Palace

of

from

(Raphael)

Laurence,

with

the

Detail

Raphael's

the

Enthroned

Ba-

three

these

work

Raphael,

on

the

bear

of

had

work

and

to

first

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work.

of
"

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relation

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master

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paintings

other

was

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tion

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these

great

pre-

too

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Deposi-

glioni

of all

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are

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of

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unborn,

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all

tries,
to

and

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coun-

works

the

it

yet

as

treatment

wise

in

in

and

art

paintings,
and

the

Foligno,

Transfiguration,

ages

of

characteristics
of

art

the

are

Perugino

its immortal

itself

of

shadowed
over-

genius

wherein

forms

Umbrian

it not

finally surpasses

These

works

vestibule,

Madonna

mizes

painting

best

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influence

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develops

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shrine

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to

In

of the

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Louvre,

it is

himself.

Urbinate

great

Virgin;

of the

Coronation
the

first

artist

been

have

215

the

but

all the

himself

in

fourth

Sanzio.

in

seen

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the

room,

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GALLERY

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PICTURE

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But,

quently
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apart

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purer,

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of

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years

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Virgin,

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fell

in

Madonna,

who

is

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tablet.

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other

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tablets

like

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had

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written

was

Tannay
sotto
The

in

by

the

those

of
the

the

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pictures

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such
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wood,

di

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boy
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operation

Guijon

Raffaello

X).

anno

if to

of it

Vincent

conosciuto

vicissitudes

become

the

together

special report

collection,
has

1797,

delicate

very

feet

In

fiery-tailed

the

as

is shown

celebrated

for

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PICTURE

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The

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GALLERY

217

THE

218

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219

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220

THE

VATICAN

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221

GALLERY

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222

THE

VATICAN

THE

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during

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223

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GALLERY

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224

The

Last

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in

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225

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Reni,

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226

THE

VATICAN

of

Espousals

The

227

GALLERY

PICTURE

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than

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Italian

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VATICAN

THE

238

quite
taste.

expected

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crystallized owing

repetitions.
the

importance

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the

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made

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1649.

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precious replicas

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to

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of

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ornaments.

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TAPESTRIES

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4 sqq.

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240

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apostles.

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241

TAPESTRIES

contemplation

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in

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St.

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Earthquake

VATICAN

THE

242
Peter

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vii, 1-59.

sixteenth

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1492

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and

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ix, 1-9.

The

cartoon

THE

GALLERY

The

The

TAPESTRIES

OF

Adoration

Adoration

of

of

the

the

Magi

Shepherds

243

244
of

THE
this

of

frieze

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tion
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In

Michelangelo
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xvi, 20-40.

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xvii, 19-34.

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Hercules

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Prato.

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angel

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The

who

Innocents

xiv, 8-17.

Acts

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in

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Earthquake,

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GALLERY

Innocents

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the

OF

TAPESTRIES

The

Magdalen

245

Massacre

The

Supper

of

at

the

Innocents

Emmaus

THE

246

The

The

VATICAN

Resurrection

Presentation

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GALLERY

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247

TAPESTRIES

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work
of

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Adrian

VII

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In

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248

THE

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253

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254

THE

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255

MUSEUM

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the "Ancient
first period of Egyptian history is generally known
The
as
ern
modMemphis (the
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This
Pharaohs.
period comprises the first ten dynasties,of which the
the fourth, including the reigns of the three great
most
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pyramid-builders, Cheops (Chufu), Chephren (Kafra) and Mycerinus
of

the science

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the domination

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eighteenth dynasty, and with this "New
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Tigris and the Euphrates.
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followed

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This

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ing
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twelfth

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b.c.

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This
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the twelfth

of

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4000

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date

dynasties followed;

twenty-first

to

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by a period of decadence, which


the
twenty-fifth dynasty, when

Assyrians under the Sargonides conquered the land of Egypt. A brief


in the Saite period of the twentyand
glory followed
spell of freedom
felt in turn the influence
civilization
sixth dynasty, when
of
Egyptian
Greek
culture.
It was
quickly followed, however, by the conquests
of King Cambyses
of Persia, who
put an end to the ancient kingdom of
the Pharaohs

(525 b.c.)

Alexander

the Great

the Persians, and


in turn
in this

of the Ptolemies

religion of ancient Egypt


corruption crept in, as happened in
of

came

fast

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The last stage
Augustus.
conquest

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after Christ.

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in

incarnate

became

in

(1)

within

sky

Egypt,

in

follows:

as

of

deities, divided

many

generative

The

other.

worshipped

these

the

sun-god

is

the

and

sun

were

the

gods

referring

or

sun

deity.

the

it better,

represent

other

theology,

of

know

we

to

to fetich-

was

ancient

the

attributes

emanations,

the

masses

in

all the

and

special locality

triad

or

group

within

There
its

the

when

taken

being

solar

from

time

the

at

deity;

the

derived

having

various

sun

nothing

power.

each

triads,

the

but

effect

and

least

at

of

manifestation

animals,

which,

symbols

as

worship,

sun

part of

on

of

worship

merely

the

step

next

religion of Egypt,

The

of

VATICAN

THE

256

balming
em-

their
there.
senting
repre-

ing
contain-

delight

in

the

EGYPTIAN

THE
recite

and

scenes

for

formulae

the

scribed
pre-

their

during

use

257

MUSEUM

long

wanderings.
funeral

The

in

seen

of

museums
or

tombs

in adoration

from

taken

phrases
books.

Shorter

nature

are

religion
the

sacrifice.

The

doors

the

dead,

texts

in

like

those

stelae.

shape

lid

is in

the

and

the

of

mummies,

and

the
take
the

surmounted
of

the

head

by

the

adorned

Within

and

too, they

representation
head-dress

with

characters

walls

cases

many

were

izing
symbol-

decorated

are

of the

receptacles

with

dwelling-place

on

calantica.

stone
sand-

houses
thus

hieroglyphic

defunct,

of

sometimes

are

Sometimes,

the

by

eternal

of

offering

sarcophagi

windows,

and

the

particularly

resemble

to

serve
pre-

religious

the

granite

or

carved

of

and

symbols,

depicting

scenes

the

organization

various

us

funeral

and

tant
impor-

us

Egyptians

for

funeral

concerning

social

ancient

similar

the

give

information
and

of

on

also

sacred

the

texts

found

stelae, which

of

names

dignitaries, and

titles of

the

scriptions
in-

long

the

giving
kings,

carved

with

and

god,

sive
exten-

the

defunct

figure of the

often

are

showing

scenes

The

with

decorated

splendidly

before

papyri.

of

doors

and

walls

with

mummies

and

amulets,

tombs,
coffins,

painted

statuettes,

their

of

doors

stelae, sarcophagi,
vases,

fragments

are

walls

the

usually

monuments

known
these

placed

as

of
culiar
pe-

the

enormous

the

coffins

Statue

of

an

belonging
the

Unknown
to

the

Ptolemies

Princess
House

of

THE

258
of

of

and

the

with

out

figures

the

deities,

the

painted

wood,

sycamore

inside

glyphic
hiero-

inscriptions
in
or

from

the

chief

were:

of
the

or

(1)

the

resurrection;

scarab,

easel,

or

the

necklace,

the

Dead."

Near

the

These

are

heads

any

of

crowned

of

of

in

seen

and

the

Alexandrine

are

more

neous
erro-

Canopi,

ure
fig-

Canopus
era.

properly

called

or

they

grotesque

god

the

the

because

vases,

the

animals.

be

under

resemble

also

museum,

name

Canopic

not

were

may

known

are

deities.

minor

vases

vases

almost

"Book

diminutive

coffins

four

placed
with

the

the

the

There

the

of

statues

or

of

amulets,

mention

to

pent,
ser-

usech,

reward

other

many

or

female

of in the

just, spoken

eye,

symbol

the

the

(6)

of

or

ureus,

of

symbol

(2)

all-seeing

anch,

life; (5) the

deity;

uta,

the

deity; (4) the

bol
sym-

symbol

the

of

symbol

of

used

the

tat,

little

amulets.

amulets

stability; (3)

of

swathing
with

covered

objects

pious

coffins

in

tightly

and

the

mummies,

the

placed

wrapped

The

of

these

In

bands

chapters

"Book

Dead."
were

ducing
repro-

instances

most
whole

verses

of

gods

and

underworld,

VATICAN

of

They
neral
fu-

Statue

of
and

vases,

because

they

Queen
Mother

(Fourteenth

Tuaa,
of

Wife
Rameses

Century

of

Seti

II

B.C.)

EGYPTIAN

THE

defunct.

of

The

names

(1)

Amset

on

these

genii

(2)

(4) Keb-

The
deal

contain

various

in

works

even

of

degree
funeral

They

of their

tises,
trea-

thus

the

high

of the

("Book

by

history.

Most

known
and

as

"Chapter

of

each

which

contain

called

in

bearing

at its head

these

papyri

bought

when

person

was

the

the

plain

took

left blank,

and

in

place,
thus

we

of

travels

prepared

were

funeral

who

"Ro

and

been

one

dred
hun-

"(i.e.,

en

colored

the

advance
the

space

the

see

by

the

for

the

vignettes

in

souls

the

world.
under-

scribes,
of

name

inserted

name

was

thus

into
.

with

in

has

the

hem

em

per

divided

was

all of

or

Lepsius,

which

and
It

are

museums

Sciat

which

the

from

portion

Dead."

decorated

incidents

in

Dynasty,

b.c.)

2000

even

found

Egyptian
but

various

and

3000

Egyptians

Todtenbuch,

the

(Eleventh

Mentuhotcp

of

papyri

Daytime"),

the

of

and

."),
.

the
As

dead

"Book

sixty-five chapters,

showing

were

the

ancient

of the

was

in the

publish it, called

first to

since

the

those

which
Out

Going

Head
between

reached

book

sacred

Sandstone

are

papyri, particularly

of the

text

showing

civilization

days

remotest

tombs

medicine

on

They

records

precious

the

subjects.

mathematics.

and

Selk.

tales, moral

poems,
and

ties,
divini-

and

found

papyri
with

of these

four

the

Neit,

Isis, Neftis,

tell

vases

influence
of

speak

and

Usually
the

on

protecting

genii,

were:

(3) Tuau-

(hawk-headed).

of the

lid.

(man-headed);

inscriptions

the

genius
the

(jackal-headed);

senuf

of

one

the

(baboon-headed);

Hapi
mautef

the

of

appeared

head

four

dedicated

were

protection

the

under
whose

balmed
em-

were

containing

and

viscera,

the

They

each

in number,

the

of

viscera

the

contain

259

MUSEUM

and
the

by

other
an-

of

the

hand.
The

"Book

mysterious
of
as

the

Lepsius
good

the

Dead"

is of

religion of Egypt,

Ancient

Navilli

mystical

of

Egyptians."

frankly

The

secrets.
and

Navilli;

English

one

we

Le

is

Page

importance

it has

text

have

principal

there

by

and
Its

confesses,

great

rightly

is very
not

editions

good

been

French

Renouf

of

able
this

the

study

called
and

obscure,

been

the

book

are

"Bible

to-day,

even

to penetrate

translation
Another

for

into

those

by Pierret,

important

document

its

of
and

260

THE

is the

of

book

of

Opening
known

the

as

often

and

taken

was

journey
the

the

rare

and

olis
necrop-

closed.

was

the

are

ceedingly
Ex-

papyri

taining
con-

which

is of
It

importance.

by Schiaparelli

published

the

during

in the

document,

highest

where

during

tomb,

tomb

this
the

corpse

exposed,

the

tains
con-

from

used

house

long ceremonies
until

It

embalmed

the

to

with

Dead."

from

been

had

it

identified

service

the

usually
Funerals,"

of

the

burial

moment

("The

Ro

en

"Book

of

the
the

Ap

Mouth"),

wrongly

"Book

the

the

the

VATICAN

in

was

1881-

1882.
There

is

distinctive

something
about

peculiarly

so

Egyptian

that

art

Seated

at

can

we

distinguish

once

productions
the
of

symbol
solar

urei.

and

accumulated

figures of gods
This

monuments.

its

that

hieratic

only

and

the

the

of

and

the

And,

worship
lasted

forty
a

chronological

the

taste

of

to

forms,

in

imitative

as

This

singular
Romans,

people

owing

or

imitate

the

history,
of

it, either

the

from

of the

characteristics

to-day

glyphic
hiero-

of

unaltered

Egyptian

and

are

long

almost

imitate

we

columns

and

developing

of

Greeks

conquered

artistic

with

comparison

ages.
the

attempted
the

the

various

strange

preserved

centuries

the

with

decoration

appropriate

was

being

everywhere

been

tecture
archi-

ornamented

doors

and

b.c.)

In

pyramid

are

walls,

had

(1366-1333

so

ments,
monu-

the

ings
paint-

art

caught

who,

when

as

to

the

salve

to

tion
attrac-

productions

the

East.

just

change,

of

pride

strange
Far

the

Egypt,

conquered

and

distinguishing

of

pleased

wounded

of

in

sculptures

fancy

they

through

succeed

can

crowned

are

Pharaohs,

dynasties,

Egyptologist, by

an

the

on

art, which

first

the

Seti

people.

the

architraves

real

style of

form

of

ancient

columns
the

and

form

of

periods

remotest

in

The
and

Everywhere

inscriptions

other

any

predominated,

sun.

flowers,

lotus

of

effect

radiant

the

discs

those

pyramidal

of

capitals

from

Statue

tian
Egyp-

as

Egyptian
of

during

this

religion

Isis, which
a

grew

large part

of

likewise
up
the

Egyptian

process

in
Roman

took
the

on

new

form

Graeco-Alexandrine

period.

Of

underwent

art

all the

"

that

of

period
divine

the
and

triads

THE
in

worshipped
of

land
olden

Egypt

that

one

that

of

in

was

worship
ceremonies

retained

with

The
Isis

ual.
rit-

spread

rapidly

and

the

pire,
Em-

from

all

flocked

people

parts
be

initiated

in

that

souls

turned

from

loathing

polytheism

of

Rome

Greece

it

that
in

in

the

of

Empire,

honor

imitations

or

belonging

to

Ptolemies

and

the

domination.

from

which

I.
is the

of

them
to

made

Ut-a-hor-resent

b.c.)

the

painted

Classical

of

the

lid of

Coffins
a

mummy

from

the

marks
and

putting

which
the

even

national

may

the

of

be

ancient

from

antiquities,
time

of

of the

aside

sculptures

art

difference

of

of

period

the

since,

deities

style,

remarkable

clearest

so;

those

from

merely
do

Egyptian

imitation

present

of

of

to

truly Egyptian

the

Pharaohs,

dating

from

home.

at

distinguish

the

of

those

their

bear

Hall

Priest

the

Century

inscriptions brought

and

statues

is it hard

the

attempted
and

enter

from

reproductions
in

Room

epoch

Nor

recognized
been

of

it is well

museum

Roman

Statue

of

Serapis, containing

and

Basalt

Green

were

(Sixth

in

Egypt,
In

first

temples

erected

Isis

the

the

splendid

pened
hap-

Rome

principal

cities, from

days

trine.
doc-

purer

Thus

and

the

sought

and

higher

the

in
where-

mystic religion

and

of

worship

throughout

in

invented

newly

to

only

connection

old

were

the

survived

whose

the

261

Osiris, Isis and

Horus,
with

MUSEUM

the

in

the

days,

EGYPTIAN

the

Roman

the

Grgeco-

unfailingly
and

tions
inscrip-

Egypt

indigenous

has
ductions,
pro-

imitation.

Sarcophagi.

coffin, with

"

On

the

right

hieroglyphic

as

you

inscrip-

262

THE

to
of

longs
It be-

1).

(No.

tion

priestess

named

Ammon,

of

six

prayers,
is

there

come

the

her

On

with
an

dead

(No.

1)

paintings

inscription.
clad

shown

robe

altar.

Her
of

is

priestess

white

that

to

It is decorated

belongs.

The

2)

(No.
lid

the

and

left is

the

coffin

which

of

spirits

the

light.

to
disc

together

sun

with

that

radiant

the

see

as

and

granted

it be

the

lady

forth

living soul,

of

prayer

dead

the

may

tical
ver-

contains

lines

sacrificial

that

scription
in-

The

Neschonsu.

and

VATICAN

in

before

an

and

name

her

husband,

Tet-Hor-auf-ank,

are

W^
There

given.

are,
Naophorus,

moreover,

the

cartouches

of

which
this

is

and

preserved
the

cortege
as
on

of

as

the

boat-shaped
prayers

and

it, is
which

mummy,
in

to the

drawn

carrying

the

to

coffin

cartouches
his

time,
from

dates

to

and

above

priestess

dates

from
and

cover,

hieroglyphic inscriptions.
remarkable
goes

from

of Funerals."

"Book

vehicle

Tet-maut,

belonging
and

The

1, belonging

No.

named

coffin

face

you

the

described
a

5 is the

to

dynasty),

as

the

B.C.).

century

lid similar

coffin

painted figures

right

Statue

subsequent

veneration.

great

Chonsu-pa-krat
No.

period.

to

Shrine-bearing

(eighteenth

monuments

on

even

in

(tenth

dynasty

Amenophis

found
held

was

Bubastitic
No.

Pharaoh

be

to

are

ruler

or

royal

by
sacred

oxen

scene

the

house

showing
to the

The

mummy

and

surrounded

instruments

shows

On

mon
Amsame

well-

the

outside,

the

funeral

tomb,

is shown

and

of

the

exactly
resting

by priests
the

ritual

citing
re-

papyri.

THE
of

front

In

hall,

and

you

enter,

to

walls

both

which

hieroglyphic inscriptions
refer

and

(seventh

dynasty

The

b.c).

591

who

b.c),

to

of

is the

same

belongs

one

temple,

first

as

Of

of

favorite

the

Necht-Hor-menk-ab;

placed upside
the

tik, and
live in

Hall

II.

colossal

of

the

breathes

Osiris

of

Figure

Psam-

priest, named

wish

other

attitude

same

side

of

the

the

26).

III

under

that

"that

life

his

name

may

hall

On
of

(dating

whose

is another

the
the

several

front

of

goddess,
from

reign

Egypt

the

throne

of

ment
punish-

the

of such

in

the

the

other

On

in

the

right, and

same

to

the

cartouches

fifteenth
of

city

Museum.

royal

zenith

the

reached

the

on

middle

the

the

goddess,

the

still remain

about

on

the

was

the

and

this
in

are

of

goddess
over

dynasty

came

which

the

lioness

long series

were

statue

is

is seated

She

This

eighteenth

of

of

head

presided

There
the

enter,

you

and

sun,

as

(ureus)

(the anch).

hell.
of

the

has

serpent

of the

III

right

to the

8,

city undoubtedly

goddess,

figure

Amenophis

heat

the

of

Egyptian

from

the

(No.

left of

symbol

and

by Amenophis

and

of

disc

No.

"

Sechet, which

goddess

lost in the

the

statues

the

devouring

erected

Thebes,

b.c),

to another

belonged

Statues.

the

the

holding
of the

statues

of

by the solar

throne,

symbol

the

This

inscription

of

statue

surmounted

of

Carved

eternity."

Room

the

showing

have

must

ground.

brief

the

is

show

to

Naophorus,

the

to

the

other

as

so

which

inscription,

reached

left,
of

king named

down

the

the

on

high-priest

of

part

the prenomen

Pharaoh.

to

of

Nefer-

called

sarcophagi

two

on

(596-

II

the

above

the

other

turies
cen-

courtier

was

ab-ra-meri-Neit,
which

sixth

of Psammetichus

time

the

Saite

sarcophagus

right belonged

the

or

twenty-sixth

the

to

as

cophagi
sar-

ten
closely writ-

with

in basalt

263

MUSEUM

the

large

three

are

of
left

and

right

the

EGYPTIAN

of

century
and

its power

culture.
No.

12, standing

red
cartouche

repeated

granite
with
in

the

out

statue

his

name

from
of

the

Ptolemy

wall
II

is inscribed

hieroglyphic

to the

right

as

inscription

the
on

front
the

in, is

go

(285-247

Philadelphus
on

you

of

small

his

The

b.c).

girdle,

obelisk

sal
colos-

on

and

which

is

264

THE

he

leans.

of

this

The

reign
tory
his-

in

for

splendor

the

under

reached

Egypt

in the

especially

him,

which

sciences,

were

the

in

cultivated

schools

famous

at

he

where

Alexandria,

his

founded

great
his time

To

library.
also

is

sovereign

memorable

mous
fa-

the

belongs

of

translation

tures
Scrip-

Hebrew

the

Greek

into
known

as

the

Sep-

the

right

On

tuagint.
and

left of this statue

are

placed

red

other

two

granite

of

statues

of

princesses

house

of

the

No.

14,

right, is

of

the

emies.
Ptolon

the

statue

of
and

sister

Arsinoe,
wife

VATICAN

Ptolemy
Sandstone

Opisthographic

and

Philadelphus;

(Fourteenth

No.

10,

the

statue

of

in

statue

crowned

of
of

her

the

To

marble
bear

the

and

were

Pantheon,

and

larger

cartouches

Pharaohs

with

than

(362-340
brought
where

the

on

of

statue

were

of

the

found

the

two

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lid.

the

of

good
and

stands

of

life to

body

of

is headed

this there

are

has

This

Egyptian

inscription

of which

one

inscriptions

She

which

end

the

lotus

nether

the

Anient."

in

the

the

water

dead,

coffins

in

with

Dead,"

At

of

into

long vertical

the

heart."

"Book

dead

of the

represented
of

"Book

others.

and

transformations;

of the

hands

is, moreover,

the
man

both

the

other

the

There

xxvi

soul

tells

Ra

of the

lxxxi

depicted

which

of

go
the

Chapter

life

offers

showing

Apis, Kebsenuf,

Osiris,

the

containing

she

"May
as

in

head.

Amset,

concerning

woman,

Chapter
for

"Chapter

is

and

portraits of Hotep-

are

Chnum,

which

lxxvi,

and

tree,
dead

of

transmigration

Neit

there

world,

Thot,

Neskem

to

Osiris

nether

portion

xliv,

goddess

the

deities

Chapter

sacred

containing

few

to the

of

of Chapter

part

the

to

belonging

of

breastplate

of

gods
the

Dead,"

the

Tribunal

the

contains

relating

flower;

the

to
and

inscription

Dead,"

below

Just

Tuaumautef,

VATICAN

THE

272

is

the
garded
re-

Museum,

its excellent

state

of

preservation.
No.

143

is

funeral

stele

dating

from

the

Ancient

Empire

(sixth

273

MUSEUM

EGYPTIAN

THE

ii^r-3i

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lr-*ssto\njUj,

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represent
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dead

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a

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on

wife

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door,
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woman)

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are

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and

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of

145

of

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of

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funeral
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the

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sides.
three
many

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Chufu,

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of

with

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lid

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glass

head

case

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se-

represented
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the

papyrus

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right

tains
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It

oarsmen.

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of

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he

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telling that

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small
the

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name

Ammon.

days

Ara,

it is

stele

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called

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pyramid

B.C.).

inscription giving

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is

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dynasty

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men,

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on

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shaped

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profile

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in

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man

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fulfil the

to

cupboard
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the

page)

Apa.

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of

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man

Ancient

two

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opposite

monuments.

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time
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under

usual

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front
on

belonging

and

dynasty),

"Book

the

from

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dynasty.

terminating

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human

head

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in

coffin
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and

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Hall

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first

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mother

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dates

monument

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glass

the

the

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glass

fifth

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the

eighty-two

of

precious
the
some

backs

small

twenty
the

figures

object,
right

of

an

small

are

of

in

the

triad

bronze,

in

The

stone,

obelisk.

Osiris, Isis and

standing.

ancient
bell

stilettos, nails

censer,

and
and

some

spoons

On

the
like

those

sistra

Horus

(one

may

shelf

at

her

is

wooden).

seen.

and

contains

case

five

being

in bronze

seventh

glass

breast;

seen

in

Osiris.

bronze

group
the

see

be

to

wood,

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the
In

Below

and

ures).
graffitifig-

offerings

glass

fourth

urei

with

small

we

presented

fourteen

and

this

part

upper

wood.

sixth

third

of

and

Horus.

figures of Isis feeding

the

enamel,

bronze

small

eyes,

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in

and

especially

Thebes.

the

rosso

bronze

crocodiles,

are

worthy
note-

of

bottom

in bronze

one

case.

small

the

stone

cabinet

Nefer-tum

glass

figure
are

the

goddess

epoch,

In

and

presenting

god

Osiris

against

for

the

shapes,

In

near

noteworthy

of

case

baboons.

Luxor

enter,

Bes, symbolic

Ammon.

central

altar

in this
of

Egyptian

the

represents
are

their

of

exhibited

statuettes

with

seated

of

god

The

animals

you

Roman

various

of hawks

the

is the

statuettes

also

are

(including

the

as

female

papyri.

sacred

and

glass
of

the
and

the

and

follow

Hemicycle

left

Bes

god

from

statuettes

of

case

middle

Twenty-four

feathers

thirty-five cats

glass

situlce

fourteen

of

gods
the

second

mummies

are

the

amulets

missionaries

contains

case

with

some

case

the

figures

the

and

exhibited

Franciscan

the

stone

small

In

the
on

Aphrodite

an

the

of

cabinet

of

the
and

objects

figures

robe.
boxes

heart

are

third

are

also

being

case

the

bronze

long

amulets,

the

statuettes

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a

In

After

"

lesser

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also

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wooden

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of

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among

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life

the

name

Cult.

of

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contains

rooms

and

antico

To

the

probable

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objects

as

Hathur

two

of

name

was

it is

Objects

and

rooms

these

well

first

Gods

the

small

some

case

The

which
and

of

table

around

goddess

is written

goddess

dynasty

lid

is carved

the

symbols

two

the

wears

ceased
de-

time.

that

by

the

is the

head

of

wife,

his

149

necklace

image

Dead."

the

dynasty,

winged

image

the

the

sitting before

No.

mummy;

of

name

thirteenth

figures of

names.

black.

of

is Ua-ab-ra,

inscription
sixth

and

head

the

"Book

of the

as

it is the

her

on

of

the

is shown

kneeling

their

with

painted

are

below

disc

hands.
lxii

see

form

the

eyes

and

solar

also

We

sister, together

his

and

who

The

from

stele

Hori,
the

beard.

pointed
is

named

man

offerings.

of

with
146

No.

Samtaui.

is

and

calantica,

the

wearing

of

VATICAN

THE

274

only
and

rare

bas-reliefs.
the

centre

these

are

THE

Statue

MUSEUM

EGYPTIAN

of

Antinous

("The

Egyptian

275

Apollo")

nineteen
Ra.

In

the

and

glass

eighth

of the

of

twenty-seven

finger

of
for

calling

silence,

Horus,

silence.

the

In

The

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high
sacred

glass

right

sacred

hawks

on

up

urei
case

glass

the

large

wall

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in bronze,
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stands

a
a

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a

wooden

wooden
wooden

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sacred
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to

as

left of

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figure

Osiris;

below

bronze

Osiris.

of

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figure,

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pe-

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case

birds'

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birds

To

and

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terra-cottas
wall

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action

Vases

vase.

Osiris

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with

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On

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various

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with

animals:

oxen.

wood,

is devoted
arms.

of

sacred

exhibited
ten

Canopic

Two

of

to

five

are

three

Kem,

god

nine

Greeks

four

are

Horus

confused

case

Amnion

hand

meant

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thus

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right

child

was

of

three

Ptah,

god
the

which

ninth

of

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heads

the

is,

was

and

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interpreted by

are

serpents

Bes

on

that

"

Horus

the

of

and

votive
is

Table

god

of

seven

the

In

part

eleventh

including
is, to the

child

four

fourteen

claws.

was

The

the

cabinet

attitude,

later

lower

the

frogs, lions,
contains

This

holding

Sechet,

goddess

Horus.

Sechet,

Harpocrates.

Princess

the

Harpocrates

mouth.

his

near

childhood

of

case

goddess

of

Isis, three

of

figures

small

statuettes

of

VATICAN

THE

276

and
are

Finally,
and

five
on

standing

EGYPTIAN

THE

glass

on

Hall.

Funeral

the

Dead."

the

second

glass

five

glass

of

case

funeral

and

necks

of

small

scarab

of

scarab.

another

on

of various
funeral

sizes.

with

discs

Canopic

The

seventh

glass

funeral

statuettes

contains

the

Barneses

II

enamel.

On
This

In

the

case

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middle

wall

three
in

contains

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with

scription
in-

case

are

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to

honorary

bronze

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of

mirrors

used

objects
lower

scarabs

vases

figure

bronze

dead

five

and

funeral

as

section

gether
to-

inscription

ninety-four

lamps,

funeral

ments
orna-

preserved

are

objects
chairs,

casket, and
of the

of

whose
is

window,

wooden

enamel.
of

II; almost

statuette

room

the

and

right contains

statuettes,

dynasty),
of the

domestic

fragments

to the

alabaster
funeral

containing

small

cabinet

of Barneses

(nineteenth
the

contains

baskets,

resting

of the

twenty-four

noteworthy

slats

glass

see

sandstone

many

the

In

sisting
con-

laces
neck-

vases.

of Seti I, father

tomb

are

of these

origin.

case

in

also

Many

domestic

in eight

grains

Here

tomb.

long

three

case

we

contain

is the

cases.

(eighteenth dynasty),

contains

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taining
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with

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impression

shelves

of notice

rosettes.

of

chalk

two

glass

Worthy

white

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sixth

The

in his

Amenophis
and

lower

The

ornaments.

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of

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ing
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cases

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III

third

adornment,

part of

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third

The

similar

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two

lower

The

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On

Tii, wife
other

ten

the

In

glass

blue

and

gold

caskets.

scarabs.

Queen

with

here.

painted

of

collection

the

turquoise

of

of

funeral

of

and

terra-cotta

wooden

small

Objects
of

bracelet

four

of
In

funeral

sections

painted

alabaster.

ancient

three

"Book

statuettes,

preserved.

the

bers
num-

coffin.

the

twenty-four

for

some

of

vi

cause
be-

labors

great

sandstone

funeral

been

preserved

necklaces

found

also

small

in the

their

in

placed

contains

exhibited

are

vases,

are

of

case

scarabs,

stone

sections

wood

left contains

in

dead

were

has

part

are

and

of white

one

of

the

Chapter

substituted

Below

glass

they

still rests

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statuettes

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to the

in

one

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lower

the

were

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funeral
In

cabinet

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only

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them

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case

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others

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of these

One

Usebtiu

that

to this belief,

all

and

graves,

on

two

are

of the

case

called

believed

Owing

tomb.

the

first glass

statuettes

Egyptians

the

respectively,

seven

The

"

funeral

forty-one
beyond

and

in bronze.

other

the

and

five

cases

277

MUSEUM

which
seven

statuette
canvases

which
all

some

from

are

cially
Espe-

Ka-em-uas,
is

name

glass

of wood.

are

Prince

forty-four
eighth

of

son

painted

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on

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to

were

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the
used

left
as

is glass
funeral

insoles, three
of sandstone.
in which

funeral
The

the mummy

case

nine.

ornaments:
statuettes

tenth

glass

of Queen

VATICAN

THE

278

Lion

the

from

Monument

of

Khopeshef,
resting
four

son

or

Room

wooden

On

the

of

frames.
wall

right,

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of

the

fairly

well

scene

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(No.

7).
and

On

of

very

the
the

wall

contains

nineteenth

headings

in

belonging

to

part

is

No.
the

of

the

hieratic

priestess

cxxv,

the

papyrus

of

preserved.
of
Ii-mut

figure

the
where

are

the

dead

of

the

"Book

of

Abai
and

xvm
are

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are

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teenth
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"Book

in

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end

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tains
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papyrus

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of

clxxxi.

written

6), with

and

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which

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(No.

beginning

Ammon,

Dead"

ning
Begin-

and

son

i, xvn,

papyrus

papyrus

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finally

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here.

to

scene,

its headings

and

been

and

of Osiris
into

Chapters

the

both

of

Judgment

tribunal

hieratic

having
5 is

"Book

Amen-em-apt,

to

dynasty;

fragments
red.

this

hieroglyphic

rest

enclosed

referred

Set-ar-bant.

c,

xxx,

In

condition,

wall

right-hand

five

is

others

two

cabinet

papyri

be

was

which

in

belonged

It

fragmentary

only

missing,

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scales

those

back

the

dynasty),
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Dead,"

Osiris

On

Dead"

red.

Set-ar-bant,

xxvi,

see

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mother

is introduced

who

and

ten

can

of

papyrus

period).

can

we

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central

contains

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wrapped.

wood.

Chapters

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the

noteworthy

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Judgment

dead

weighed.

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On

of Prince

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in wood,

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"

the

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left-hand

at

text

Papyri.

and

dynasty),

statuettes

petrified

of

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11), belonging

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the

are

(twentieth

exhibited

also

Pharaohs

the

dynasty),

(nineteenth

funeral

of

B.C.)

Century

III

two

five fragments

in

of

Rameses

casket

on

First

is

of

II

painted caskets,

of

Lids

of Rameses

wife

Nefertari,

II, last

Nectanebo

(Fourth

of

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(twenty-second

EGYPTIAN

THE
this

dynasty);
wall

is

World

Below

wall

nineteen

are

Dead,"

right

we

of

of

fragments

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on

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of

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to

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ostraca

same

belonging
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see,

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by

see

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the

Near

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to

279

headings.

"Book

containing

of

papyri

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red

the

(Saite period);

the

On

Judgment.

has
of

fragment

Arpit

Ta

woman

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papyrus

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MUSEUM

left, two

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Cop-

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Hall

Second

35,

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Patu-asar

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Third

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to

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be

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rather

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belong-

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under

23,

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The
a

on

in

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In

hall

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Palace

the

palace;

same

Here

dating
are

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city during

from

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characters,

the

cuneiform

Nineveh.
assault

the

squares,

dynasty).
and

Assur-nazir-habal.

up

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from

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"Book

thirty-one large

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Finally, high

to

Dead,"

Dead,"

is exhibited

sculptures

some

deity;

of

belonging

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the

(twenty-sixth

of King
in

down

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papyrus

excavations

similar
name

accounts

origin).

19, cuneiform

No.

18, another

tree
an

the

26, Assyrian

of Sennacherib;

Sargon;

inserted

during

Low

(nineteenth

It contains

with

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Ta-sat-

portion

upper

part

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Pa-chen-ah

room

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(of
In

late

complete

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the

Kenen-hor

Museum.

priest named

are:
war

the

by

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the

papyrus

most

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Pa-tu-amen-neb-res-taui;
of

of Hor

the

of

son

Dead,"

the

(Saite

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Hor,

the

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treasury,

"

of

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son

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preserved

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No.

scene

Dead"

to

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damned;

Chonsu-Tot,

fragments.

On

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Papyri.

cases,

hieratic

of this

walls

the

the

possessed

written

of

papyrus
of

the

hieratic

hieroglyphic

fragmentary

of

the

low

from

scene

Judgment

hieratic

dynasty.

amulets;

belonged

the

badly

is No.

well-preserved

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Asit-ur.
a

of

of

left

beginning

wall,

of

left the

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hieratic

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are

the

the

Dead,"

are

Ammon,

window

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hand

right

sacred

which

Dead,"

nineteenth

the

fragmentary
priestess

the

dynasty);

of

scribe

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with

with

origin);

on

to the

rear

text

glass.

wall

punishment

origin);

late

of

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the

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