fashion in the
seventeenth century, the pictures of Guido, Rubens, and Murillo
afford the most perfect specimens.

1. Raphael. (Louvre, 377.) Mary, a noble queenly creature, is seated,
and bends towards her Child, who is springing from his cradle to meet
her embrace; Elizabeth presents St. John; and Joseph, leaning on his
hand, contemplates the group: two beautiful angels scatter flowers
from above. This is the celebrated picture once supposed to have been
executed expressly for Francis I.; but later researches prove it to
have been painted for Lorenzo de' Medici, Duke of Urbino.[1]

[Footnote 1: It appears from the correspondence relative to this
picture and the "St. Michael," that both pictures were painted by
order of this Lorenzo de' Medici, the same who is figured in Michael
Angelo's _Pensiero_, and that they were intended as presents to
Francis I. (See Dr. Gaye's _Carteggio_, ii. 146, and also the new
Catalogue of the Louvre by F. Villot.) I have mentioned this Holy
Family not as the finest of Raphael's Madonnas, but because there is
something peculiarly animated and dramatic in the _motif_, considering
the time at which it was painted. It was my intention to have given
here a complete list of Raphael's Holy Families; but this has been
so well done in the last English edition of Kugler's Handbook, that
it has become superfluous as a repetition. The series of minute
and exquisite drawings by Mr. George Scharf, appended to Kugler's
Catalogue, renders it easy to recognize all the groups described in
this and the preceding pages.]

2. Correggio. Mary holds the Child upon her knee, looking down upon
him fondly. Styled, from the introduction of the work-basket, _La
Vierge au Panier_. A finished example of that soft, yet joyful,
maternal feeling for which Correggio was remarkable. (National Gal.
23.)

3. Pinturicchio. In a landscape, Mary and Joseph are seated together;
near them are some loaves and a small cask of wine. More in front the
two children, Jesus and St. John, are walking arm in arm; Jesus holds
a book and John a pitcher, as if they were going to a well. (Siena
Acad.)

4. Andrea del Sarto. The Virgin is seated on the ground, and holds the
Child; the young St. John is in the arms of St. Elizabeth, and Joseph
is seen behind. (Louvre, 439.) This picture, another by the same
painter in the National Gallery, a third in the collection of Lord
Lansdowne, and in general all the Holy Families of Andrea, may
be