two unknown portraits, has
small claim to be classed as a Raphael. The exquisite little panels,
1502 and 1503, of St. Michael and St. George, are, however, precious
and genuine works painted in 1504 at Urbino. They symbolise the
overthrow of the hated tyrant Caesar Borgia, and the return of the
exiled Duke Guidobaldo to his loving subjects. On the R. wall of
Section D. are hung some works by the Italian Naturalists (a seceding
school from the Eclectics), to whose chief representative Caravaggio
(called the anti-Christ of painting), is due 1121, Death of the
Virgin. This realistic representation of a sacred subject so shocked
the pious at Rome that it was removed from the church for which it was
painted. 1124, Portrait of Alof, Grand Master of the Knights of Malta,
brought the artist a chain of gold, two Turkish prisoners and a
knighthood. Salvator Rosa's Landscape, 1480; and a characteristic and
much-appreciated Battle Scene, 1479, hang on this wall.

[Footnote 206: Mr. H. Cook has, however, given reasons for post-dating
Titian's birth from 1477 to 1489-90, in spite of the master's twice
repeated assertion of his great age in letters to Charles V. See
_Nineteenth Century_ Magazine, 1902, p. 156.]

[Footnote 207: It is, however, accepted by Eugene Muentz as a genuine
Raphael, executed at Florence about 1507.]

We cross to the L. wall, devoted to the Spanish school. The recently
acquired El Greco (no number), King Ferdinand, is one of that master's
best works outside Spain. By Ribera, who was obviously much influenced
by the Italian Naturalists are: 1723, St. Paul the Hermit; 1722, The
Entombment; and 1721, Adoration of the Shepherds, the last a
masterpiece, wrought in the sombre manner of this powerful artist.
From the magnificent show of Murillos stands forth, 1709, The
Immaculate Conception, a favourite Spanish theme, by the most popular
of Spanish masters. This grandiose representation of the Woman of the
Apocalypse, clothed with the sun, the moon under her feet, was
acquired at the Soult sale in 1852 for 615,000 francs. From the same
collection came the superb composition 1710, The Birth of the Virgin,
of which a small sketch in oil is possessed by the National Gallery.
We cross to the R. wall where hangs 1716, The Miracle of S. Diego; at
the prayer of the saint, angels descend from heaven and prepare a
miraculous repast for his needy Franciscan friars, to the great
amazement of brother cook. Other Murillos, inclu