CATALOGUE OF THE WORKS OF SODOMA
Reading edition
ARRANGED ACCORDING TO THE GALLERIES IN WHICH THEY ARE CONTAINED
AUSTRIA-HUNGARY.
BUDA PESTH, ESTERHAZY COLLECTION.
Pen drawing of Roxana as a nude standing figure.
Attributed by von Pulsky to Raphael. Hungarian National Gallery, p. 41-47.
VIENNA, ALBERTINA.
Christ crowned by Thorns. Charcoal drawing.
Attributed to Leonardo.
Portrait of a Man. Charcoal drawing.
Attributed to Raphael.
Red chalk drawing of figures for Marriage of Alexander.
“Ce dessin que Rubens avait acheté à Rome, passa depuis dans la possession du Cardinal Bentivoglio, qui en fait présent au graveur en médailles Mélan, Crozat l’eut ensuite au sortir de la collection Vanrose, et le Duc Albert de Saxe-Teschen l’acquit d’un amateur. Il porte aussi l’estampille du prince Charles de Ligne.”—Passavant, ii. 441. Quoted by Morelli.
VIENNA, BELVEDERE.
Holy Family. Panel.
Virgin and Child with infant St. John and St. Joseph.
“The space too much filled up by the heads, disposed in pairs in a not very happy manner. The drawing is inaccurate, but the modelling obtained with vigorous light and shade.” Frizzoni, Arte Italiana del Rinascimento, p. 181.
BRITISH ISLES.
LONDON, NATIONAL GALLERY.
Madonna and Child with Saints. Panel, 1 ft. 7 in. × 1 ft. 2 in. No. 1144.
The Virgin is seated on a throne under a canopy, the curtains of which are drawn back by two angels. The infant Christ upon her knee blesses a kneeling monk, who is presented by St. Peter.
Purchased at Florence in 1883 from Mr. C. Fairfax Murray.
Formerly in the Rosini Collection at Pisa.
Head of Our Lord. Canvas. 1 ft. 3 in. × 11 in. No. 1337.
A life-sized head and shoulders in white drapery. The head bent and eyes downcast, crowned with thorns.
Probably part of a once larger picture.
Purchased in 1891 from Herr Eduard Habich of Cassel.
BRITISH MUSEUM (PRINT ROOM).
Young Man in Black Cap. Charcoal drawing. Nimbus and letters I. O. have probably been added later.
Attributed to Raphael.
From Antaldi Collection, Urbino.
OXFORD, CHRIST CHURCH LIBRARY.
Pen drawing for Roxana’s Couch.
WINDSOR.
(a) A sheet containing four pen drawings for the Head of Leda, back and front. Hair closely plaited into spirals.
Attributed to Leonardo. All shadows reversed.
(b) Pen drawing of Leda, standing, with one putto beside her.
Attributed to Raphael.
SIR FRANCIS COOK, DOUGHTY HOUSE, RICHMOND.
St. George and the Dragon. Panel. 4 ft. 8 in. × 3 ft. 3 in.
The saint is mounted on horseback and transfixes the dragon with his long lance. The Princess, in crimson robes, stands in the left foreground with hands clasped in terror. A characteristic landscape, with a castle on a hill, winding river, bridge, rocky hills and delicately foliaged trees, places it in date between 1520-25.
From the Earl of Shrewsbury’s Collection.
Originally at Siena.
WALTER SICHEL, Esq., 50 EGERTON GARDENS, S.W.
Holy Family. Panel. 2 ft. 2 in. × 1 ft. 6 in.
Seated Virgin holding the infant Christ on left knee, and behind Him is seen the little St. John. In left background an aged saint (perhaps St. Jerome).
A genuine but damaged early work.
Formerly belonged to the Rev. A. E. Clementi-Smith.
DUKE OF DEVONSHIRE, CHATSWORTH.
Pen drawing for Borghese Leda, kneeling, with her arms around swan.
Attributed to Leonardo.
CAPTAIN HOLFORD, DORCHESTER HOUSE, PARK LANE, LONDON.
Holy Family. Circular panel. 42 in. in diameter.
The Virgin kneels in adoration before the infant Christ. Behind her St. Joseph leans upon his staff. The little St. John and two kneeling angels are beside the Christ Child. Landscape background.
COLONEL H. CORNWALL LEGH, HIGH LEGH HALL, KNUTSFORD.
Holy Family and St. John. Circular panel. 3 ft. 7 in.
The Virgin is seated on the ground, the infant Christ reclining at her feet, asleep. On the left St. Elizabeth, nursing the little St. John, on the right, behind the Virgin, St. Joseph. Landscape background with castle.
Early work, but the same period as the Scarpa and Dorchester House pictures.
DR. RICHTER, 14 HALL ROAD, ST. JOHN’S WOOD, LONDON.
Dead Christ. Panel. 1 ft. 7 in. × 1 ft. 1 in.
Half-length figure of Christ supported by two angels.
On the back is written: 115. Opera del Sodoma. Al. Reverentissime Piccolomini. A. G. E. D. i. p. poito—(sic).
Bought from Genovesi, Venice, in Sept. 1891.
Formerly in possession of Pope Gregory XVI., or Clement XIII.
Virgin and Child.
Earliest work at Siena. (See page 10.)
From San Francesco.
EARL OF WEMYSS, GOSFORD HOUSE, SCOTLAND.
Holy Family and St. John. Tondo, 2 ft. 9 in. diameter.
The Virgin is seated and St. Joseph standing, looking over on to the two children, who are nude and on the ground.
FRANCE.
PARIS, LOUVRE.
Drawings.—No. 87, 88, 94.
CHAMBERY, MARQUIS COSTA DE BEAUREGARD.
Christ bearing Cross, upheld by two fierce Executioners. Panel.
Three heads, probably one of the Virgin, still visible; the picture has been chopped about, and two entire figures are gone. In the right hand corner is the following inscription in five lines:
Io. Au. Cavalier De Vercei 1500 C. V. Destructa Fuisset Maserius Reparavit 1541.
This is however, most probably by the hand of a restorer who made a mistake in its date, for Sodoma was not made Cavalier till 1505.
GERMANY.
BERLIN, GALLERY.
Charity. Panel. 0.87 × 0.49 = 2.10 × 1.7.
A tall female figure in drapery, and loose hair, standing in an open field, with a nude child in her arms and two others clinging about her skirts. Landscape background.
FRANKFORT, STAEDEL INSTITUTE.
Female Portrait. Panel.
Young woman in satin dress, richly braided, with puff sleeves and hanging laces, elaborate jewellery. Gloves in right hand, left arm rests on table and holds a sort of mace. Through an open window is seen a mountain landscape, with river.
Attributed to Sebastiano del Piombo. 1504?
HANOVER, GALLERY.
Lucrezia.
From the Kestner Collection.
HAMBURG, HERR COUNCILLOR WEBER.
Lucrezia.
MUNICH, GALLERY.
Madonna and Child with St. Joseph. Panel. 0.70 × 0.48 = 2.4 × 1.8. [No. 1073.]
A replica of the “Holy Family” in Turin, but, says Frizzoni, superior in freshness of execution.
(Print Room.)
Drawing, washed with water colour, of Diana, surrounded by her companions and chasing into the forest a satyr and his companions.
Attributed to Maturino.
Drawing, washed with colours, but much restored, representing Assumption of the Magdalen.
WEIMAR, PALACE.
Pen drawing for Leda, kneeling; swan on her left, children to right.
Attributed to Leonardo. (Braun 148).
ITALY.
ASINA-LUNGA, COLLEGIATA.
Madonna enthroned. Panel.
Madonna with infant Christ upon her knee, to whom the little kneeling St. John presents his cross. Standing to the right Saints Sebastian and Anthony, to the left Saints Louis and Roch.
About 1537-40.
BERGAMO, BIBLIOTECA LOCHIS.
Madonna and Child. Panel. 0.32 × 0.42 = 1.3 × 1.4. [No. 136.]
Dark in tone and modelling.
Attributed formerly to Leonardo.
Male Head.
In the manner of Franz Hals.
Formerly in the Morelli Collection.
BERGAMO, MORELLI COLLECTION.
St. Christopher within a Niche. Red chalk drawing.
Resurrection of Christ. Red chalk drawing.
FLORENCE, UFFIZI.
St. Sebastian. Oil on canvas. 2.04 × 1.45 = 6.10 × 4.11. [No. 1279.]
The saint bound to a tree pierced with arrows, and looking upwards to an angel who brings him a jewelled crown.
Madonna in Glory with Saints.
This picture is painted on the back of the “St. Sebastian.”
The Madonna is seated upon a cloud, while below her are St. Roch, St. Sigismund of Hungary, and six white-robed brothers of the Order, kneeling, with uplifted eyes.
Portrait of the Painter. Panel. 77 × 60 = 2.6 × 2.0. [No. 282.]
Head and shoulders of a man in the prime of life. Black and crimson dress, black velvet cap, long hair. Landscape background.
Frizzoni doubts the identity of this portrait.
Drawings. In upper room:—
421. Madonna and Child with cat in His arms. Attributed to Leonardo.
563. Silver point. Madonna seated, with dead Christ on her knee. Study for “Madonna del Corvo” in Via Stalloreggi, Siena.
565. Pen and ink. Three female figures, first sketch for “The Vision of St. Catherine.”
566. Pen and ink and water colours. Young man in fur cloak crowned with laurel.
1479. Pen and ink. Nude figure of Roxana with putti.
1506. Pen and ink. Two nude figures, with putti and various heads.
1507. Pen and ink on grey paper. Two nude figures upholding a female form. Study for “The Vision of St. Catherine.”
1644. Pen and ink. Ceiling study for the myth of Phaeton.
1936. Red chalk. St. Christopher, with bare legs, staff in hand and Child on shoulder. Upper portion treated separately. Study for the picture in the Spada Gallery, Rome.
1937. Red chalk. St. James robed as a pilgrim.
1938. Red chalk on yellowish paper. “Rape of the Sabines.”
1939. Red chalk. St. Victor with raised sword.
1943. Pen and ink on greenish paper. Design for the decoration of one of the chapels of the SS. Annunziata.
In engraving department:—
1932. Pencil on tinted paper. Figure of man, apparently St. Jerome.
1935. Red Chalk. Two sleeping soldiers, evidently study for “Resurrection” at Siena.
1944. Pen drawing, washed with colour and Chinese white. Christ going to Calvary.
1945. Pen and Chinese white on yellow paper. Pietà. Dead Christ on the knees of Eternal Father; Holy Spirit above, two saints and various women.
1942. Pen and ink on yellowish paper. “St. Catherine’s Vision.”
Finished drawing with date 1526 on pillar. Doubtfully ascribed to Sodoma.
FLORENCE, REFECTORY, MONTE OLIVETO.
THE LAST SUPPER. Fresco.
Our Lord seated at table with four of the disciples. St. John asleep upon his bosom, St. Peter to right, Judas on nearer side of the table looking towards spectator and another disciple near him. 1515.
FLORENCE, SIGNOR ENRICO COSTA’S COLLECTION.
Pietà. Panel.
Half figure of dead Christ upheld by Virgin and Magdalen. Late.
FLORENCE, PITTI PALACE.
Portrait of a Man in Red Cap.
Pietà.
GENOA, GALLERY.
Holy Family. Panel.
Left to the city by Prince Oddone di Savoia.
SAN GEMIGNANO, PRISON CHAPEL.
St. Ives. Fresco, in Monochrome.
A scene in two compartments divided by a pillar. To the left St. Ives at a canopied desk administering justice to a crowd of petitioners. Two putti holding the Macchiavelli shield. In the compartment to the right five male figures waiting. 1507.
SAN GEMIGNANO, ON THE WALL OF LOGGIA OPPOSITE COLLEGIATA.
Virgin enthroned. Fresco.
Madonna and Child, who turns His head towards Saint Gemignano. On the other side, St. Nicholas of Bari. Above are two flying angels, the best preserved part of the whole fresco.
MILAN, BRERA.
Madonna and Child. 60 × 53 = 2.1 × 1.10.
The Virgin seated on a bank with infant Saviour, who turns to caress a lamb. Landscape background with lake, mountains, and river; vivid sunset colouring. Transparent shadows and warm flesh-tints.
Early.
Sold by auction at Cologne in 1890 to Herr Eduard Habich of Cassel, and by him to the Brera Gallery.
MILAN, DR. FRIZZONI.
Penitent Magdalen. Panel. 67 × 64 = 2.7 × 2.1.
A dark figure in white vest, holding vase of ointment.
In chiaro-oscuro. Very square in drawing.
Middle period.
Drawing.
MILAN, GINOULHIAC FAMILY.
Madonna and Child. Panel. 87 × 65 = 2.11 × 2.2.
The Virgin has muslin sleeves gathered at the wrists and dark drapery over shoulders and head, fastened by brooch. Hands long and tapering, eyes narrow.
In chiaro-oscuro.
Middle period.
MILAN, AMBROSIANA.
Drawing. Magdalen before Open Book.
Magdalen before Cross.
Red chalk drawing. Head of Leda.
MILAN, SAN TOMMASO.
Pietà.
NAPLES, GALLERY.
Resurrection. Panel. 2.80 × 2.00 = 9.3 × 6.8.
A replica of the fresco at Siena. Three soldiers in act of awaking, two putti leaning and seated on sepulchre. An angel flies above Christ.
In cartellino at foot, Io. Ant. eques. Ve. Auct. F. A. 1535.
PISA, CATHEDRAL.
Sacrifice of Isaac. Canvas. 1.97 × 1.35 = 6.7 × 4.6.
Abraham in blue robe and flying crimson mantle brandishes his knife over the head of Isaac. An angel seizes the knife and points downward to the ram caught in a thicket.
1541-42.
Pietà. Canvas. 2.10 × 1.74 = 7.6 × 5.9.
Our Lord supported by St. John and the Magdalen. Group of Maries to the left, three men to the right.
Very darkened.
1541-42.
PISA, MUSEO CIVICO.
Virgin and Saints. Canvas. 2.88 × 1.67 = 9.7 × 5.7.
Madonna enthroned; to her right St. John Baptist and St. Peter, to her left St. Sebastian and Magdalen and St. Catharine of Alexandria.
1542.
From church of Madonna della Spina.
ROME, CAMERA DELLA SEGNATURA, VATICAN.
Decoration of Ceiling, except the Panels. Fresco.
Within an octagon in the centre of ceiling twelve putti in various attitudes of joy, support a round disc containing the arms of the Della Rovere. Around them eight scenes in grisaille.
1507.
ROME, VILLA BORGHESE.
Pietà. 0.69 × 0.58 = 2.4 × 1.11. [No. 462.]
Dead Christ supported by Virgin and Saints.
Once attributed to school of Leonardo.
Late.
Leda. Panel. 1.12 × 0.86 = 3.9 × 2.10. [No. 434.]
Attributed to school of Leonardo.
Thought by Morelli to be a Sodoma till Richter suggested a copy of an original work now lost.
Holy Family. Panel. 0.75 × 0.67 = 2.6 × 2.3. [No. 459.]
Madonna with rich head draperies holds divine Child, while St. Joseph, behind her right shoulder, offers Him a rose.
“Execution good, but vigour and freshness of his early Lombard days no longer apparent.”—Morelli.
ROME, BARBERINI GALLERY.
A Madonna, much repainted, bears the name of Bazzi, but is probably by a Bolognese.
ROME, VILLA FARNESINA.
Marriage of Alexander. Fresco.
Open colonnade with landscape background, carved bed, on which Roxana is seated, with attendants and putti. Alexander in centre of composition, and behind him two genii.
1514.
The Family of Darius before Alexander. Fresco.
Alexander stands before a tent to receive the kneeling mother of the Persian. His wife and family stand behind. Group of soldiers in right middle distance. Landscape background.
1514.
“These frescoes are not exempt from an excess of plentitude, but a freshness and rarity of effect which Raphael himself could not obtain.”—Burckhardt, Cicerone.
ROME, DONNA LAURA MINGHETTI.
Holy Family. Round panel.
The Virgin, with flowing parted hair, bends over the two children. Little St. John holds his cross, and two saints watch from behind.
Early.
ROME, PALAZZO CHIGI.
The Persecution of Rhea Silvia? Panel.
A composition of small figures struggling around a woman, two children clinging about her lead to the supposition that it may represent the casting out of Rhea Silvia and Romulus and Remus.
ROME, PALAZZO SPADA.
St. Christopher. Panel.
St. Christopher crossing the river with infant Christ upon his shoulders.
A red chalk drawing for this exists in the Uffizi.
SIENA, GALLERY.
Deposition. Tempera, on wood. 4.56 × 2.71 = 15.3 × 9.0. [X. 13.]
The body of Our Lord being lowered from the Cross by St. Peter and Joseph of Arimathea. Beneath, a group of women about the fainting Virgin, the centurion, and a soldier.
1502(?).
From the Cinozzi chapel in San Francesco.
Nativity. Circular panel in tempera. 1.11 = 3.10. [X. 11.]
Before a shed of broken brickwork kneel the Virgin and St. Joseph, with an angel holding the infant St. John, adoring the Christ Child laid upon the hem of His mother’s robe.
Early.
From the Monastery of Lecceto.
Gethsemane. Fresco. 2.36 × 1.17 = 7.11 × 3.11. [X. 2.]
Our Lord kneels in prayer upon a little mound, beside which are the three disciples sleeping. An angel brings Him the cup.
1525.
From the suppressed Compagnia di Sta. Croce.
Descent into Hades. Fresco. 2.36 × 1.60 = 7.11 × 5.4. [X. 46.]
A curved piece of fresco painting, removed from a niche.
The Risen Christ, holding a banner and robed in white, bends towards Abel, whom He raises from the earth. Behind Him stand Adam and Eve (the latter a very beautiful figure) and other Old Testament characters.
1525.
From the suppressed Compagnia di Sta. Croce.
Christ bound to the Column. Fresco. 1.35 × 1.01 = 4.7 × 3.4. [VIII. 27.]
The figure is semi-nude, crowned by thorns, and bound to a porphyry column, which formed part of a colonnade. Two fragments of gross red arms are all that remain of the crowd of tormenting soldiers. A faint landscape of sea-shore with the sun drawing water is visible.
This fresco is one of Sodoma’s masterpieces, and rivals the St. Sebastian in expression.
Date uncertain, between 1510 and 1515.
Brought in 1842 from the cloister of San Francesco.
Judith. Tempera, on wood. 0.84 × 0.47 = 2.9 × 1.6.
The figure of the girl, clad in orange and electric blue, stands in a wintry landscape grasping the head of Holofernes in her left hand and holding a dagger in her right.
Late.
St. Catherine of Siena. Panel. 0.39 × 24 = 1.3 × 1.0. [VIII. 32]
The black and white robes of the nun are relieved by a brilliant yellow glory behind her, in which angel faces are faintly suggested. She reads from a book which is resting upon a skull held in her left hand.
Four Panels belonging to a Bier. Tempera.
(a) Virgin and Child holding bird in left hand; two figures in background crowned with vine and shamrock.
(b) Dead Christ supported by two female figures.
(c) Virgin holding playful Child; two angels adoring.
(d) Two green-robed brothers kneeling beside jewelled cross; five angel heads in cloud above.
1527.
SIENA, ST. AGOSTINO.
Adoration of the Magi. Tempera, on wood. 3.34 × 2.02 = 11.0 × 6.9.
Beside a ruined shed the Virgin holding her Child, before whom kneels the aged king, Baldassare. Gaspar and Melchior stand behind him, offering vases of ointment, and followed by a crowd of servants and horses. St. Joseph stands behind the Madonna.
Inscription: Ascanius Piccolomineus Archiepiscopus Senarum quintus.
1518.
SIENA, SAN BERNARDINO.
The Presentation of the Virgin. Fresco. 2.78 × 2.88 = 9.3 × 9.7.
Under an open colonnade, at the top of a low flight of steps, the high priest bends to receive the Child, who turns back towards St. Anna. The foreground filled with two groups of figures, women to the left, a group of men to the right, headed by a stalwart youth in orange red.
1518.
The Salutation. Fresco. 2.78 × 2.88 = 9.3 × 9.7.
Within the temple, before an alcove, St. Elizabeth bows before the Virgin, who gently raises her. An elderly male figure, probably Zacharias, poses the left hand upon St. Elizabeth’s shoulder. To right and left groups of women and children.
1518.
The Assumption. Fresco. 2.78 × 2.88 = 9.3 × 9.7.
Around a golden glory a semicircle of angels support and uplift the white-robed figure of the Virgin. Immediately below her the open tomb, filled with flowers, and engraved upon it, Si cor non orat, invanum lingua laborat. To right and left are grouped the apostles; to right St. Thomas receives the girdle which the Virgin lets fall.
1532.
The Coronation. Fresco. 2.78 × 2.88 = 9.3 × 9.7.
The Virgin kneels in the centre of the picture, while Our Lord places the crown upon her brow. Behind Him are Adam, Eve, and other Biblical characters. To the left hand, St. John Baptist, etc. Above, two groups of angels play musical instruments, and a circle of putti play round the central glory where hovers the dove.
1532.
St. Louis of Toulouse. Fresco. 2.78 × 1.26 = 9.3 × 4.3.
Within a painted niche the French bishop stands reading an open book, crozier in hand and mitred. His robe is blue, spotted with the fleur-de-lys.
St. Anthony of Padua. Fresco. 2.78 × 1.26 = 9.3 × 4.3.
Under a similar niche is seen the Franciscan in his brown robes, holding a book in his right hand and a flaming heart in the left. In the clouds appears the half figure of the Madonna and Child. A few leafless trees behind.
St. Francis of Assisi. Fresco. 2.78 × 1.26 = 9.3 × 4.3.
Under a tufty tree the saint stands, clasping a book and cross, and looking upward to a child angel.
(In Sacristy.)
Standard. Oil, on canvas. 1.58 × 1.02 = 5.3 × 3.4.
Madonna in red and blue robes. Six cherubs around her, one of whom holds crown above her head.
Very much retouched.
SIENA, CHURCH OF THE CARMINE.
Birth of the Virgin. Panel. 1.51 × 1.46 = 5.1 × 4.10.
St. Anne in bed, to whom two women present dishes of food, while three others dress and tend the child, and a man, evidently Joachim, gazes from behind a curtain.
Very dark and much damaged.
Late.
SIENA, SAN DOMENICO.
The Vision of St. Catherine. Fresco. 3.79 × 1.92 = 12.8 × 6.4.
Between two heavily carved and gilded columns the saint, in her ecstasy, sinks back into the arms of two Dominican nuns who support her. A distant background with river, ruins and small circular temple. The figure of Christ, pierced with the stigmata, which repeats itself upon the person of St. Catherine, hovers above.
“The beauty of the faces, the expression of tender anxiety and reverence of the nuns, the divine languor on the pallid features of St. Catherine, render this fresco one of the marvels of art.”—Mrs. Jameson.
1526.
The Communion of St. Catherine. Fresco. 3.79 × 1.92 = 12.8 × 6.4.
St. Catherine, in her white and black robes, kneels between two sisters. An angel brings her the Host with the form of Christ upon it, and above are seen the Madonna and Child, Eternal Father, and Holy Spirit.
1526.
The Prayer of St. Catherine. Fresco. 4.96 × 5.04 = 16.6 × 16.9.
A crowded scene, in the centre of which the executioner holds aloft the dripping head of the thief, while three angels above receive his penitent soul. St. Catherine kneels praying in the left foreground, behind the centurion directing the execution.
1526.
(In Sacristy.)
Banner. Oil, on canvas. 1.90 × 1.37 = 6.3 × 4.6.
The Madonna, in blue robe, ascends from her open tomb surrounded by flying angels, who scatter pink roses. A golden glory surrounds her. Beneath is a view of Siena.
(Cappella del Rosario.)
Altar-piece. Panel. 2.98 × 2.00 = 9.3 × 6.8.
On high, the Eternal Father, with globe in left hand. St. Catherine, with dove, and St. Sebastian, bound, on right side of picture; on the left, St. Dominic, with book in left hand and right upraised. Above him, a young saint, with crown. Town of San Gemignano below.
Colouring very dark and heavy.
The fifteen little scenes illustrating the mysteries of the Rosary, which form the predella, are not recognised by Frizzoni as Sodoma’s, but considered to be by a scholar.
The centre of this picture has been cut out for a Votive Madonna.
SIENA, SAN GIOVANNI AND GENNARO.
Four Panels belonging to a Bier. Tempera, glazed. 0.56 × 0.45 = 20 × 18.
(a) Dead Christ supported by two angels.
(b) Madonna with Child on right arm.
(c) St. John Baptist.
(d) S. Bernardino of Siena.
1527.
SIENA, SALA DEL MAPPAMONDO, PALAZZO PUBBLICO.
St. Ansano. Fresco. 3.15 × 2.27 = 10.6 × 7.7.
Within an elaborately ornamental niche St. Ansano stands, baptizing a nude figure of a neophyte. Two others kneel and stand behind him, while a cherub pours water into a vase.
1529.
St. Victor. Fresco. 3.15 × 2.68 = 10.6 × 8.10.
Within a similar niche stands the colossal saint in armour, holding a naked sword above his head. A cherub clasps his helmet, and another holds an olive branch and a blue shield, bearing the word Liberta.
1529.
St. Bernardo Tolomei. Fresco. 3.15 × 2.41 = 10.6 × 8.0.
Under a painted portico stands the saint in white robes, looking downwards; in his right hand a crozier, in his left a red book. A group of putti play above the architrave.
1534.
(Chapel.)
Madonna and St. Leonard. Panel. 1.91 × 1.67 = 6.5 × 5.6.
In the midst of an exceeding beautiful landscape, with ruins of the Colosseum, is seated the Madonna, holding the divine Child, who turns towards St. Leonard, trying to seize his Cross. To the left St. Joseph reading.
Perhaps the finest specimen of Sodoma’s late work.
1537 (?).
From the altar of St. Calixtus in the cathedral.
(Sala dei Matrimoni.)
Madonna and Saints. Fresco. 1.72 × 1.32 = 5.8 × 4.3.
The Virgin, in a blue cloak, caresses the infant Christ, who looks down towards little St. John. Behind her are St. Ansano, in red drapery, and St. Galgano, leaning upon his sword.
1535.
(Sala del Presidente.)
Resurrection. Fresco. 2.45 × 1.93 = 8.3 × 6.4.
Our Lord arising from the sarcophagus, over which two angels bend. Three soldiers asleep in the foreground. A varied landscape of rock and tree and town.
1535.
(Cappella dei Nobili.)
Virgin surrounded by saints. Fresco. 3.87 × 2.50 = 12.10 × 8.4.
Madonna and Child, in red and blue robes, surrounded by SS. Ansano, Victor, Augustine, and James, and a number of putti. In the lunette of arch the Eternal Father surrounded by angels, right hand raised in blessing and left grasping a globe.
Inscription: Ad honorem Virginus Mariæ Io Antonius Sodona eques et Comes Palatinus faciebat MDXXXVIII.
SIENA, SPANISH CHAPEL, SAN SPIRITO.
A group of paintings consisting of:
Lunette—
St. James on Horseback. Fresco. 1.02 × 4.19 = 3.4 × 13.9.
The saint, mounted on a white charger, rides over the bodies of five prostrate Turks, slashing at them with his sword.
At right hand side—
St. Anthony the Abbot. Fresco. 1.85 × 0.44 = 6.3 × 1.5.
The aged saint, in black robe, leans on his staff, with his pig at his feet.
On left hand—
St. Sebastian. Fresco. 2.12 × 0.57 = 7.0 × 1.10.
A nude figure bound to a broken marble column and pierced by arrows.
Lunette above altar—
Madonna investing St. Ildefonzo. Canvas. 1.54 × 2.03 = 5.1 × 6.10.
The Virgin stoops to throw a white chasuble over the Spanish saint, who kneels before her with clasped hands. Two angels stand behind her, and St. Lucy and St. Rosalie kneel at the sides.
On right hand—
St. Michael slaying the Dragon. Canvas. 1.79 × 0.55 = 5.11 × 1.10.
On left hand—
St. Niccolò Tolentino. Canvas. 1.75 × 0.55 = 5.11 × 1.10.
SIENA, HOSPITAL.
Holy Family. Panel. 0.78 × 0.46 = 2.7 × 1.6.
Madonna holding Child upon her knee, who turns towards St. John Baptist and dallies with his cross. St. John stands behind the Madonna’s right shoulder. Landscape background to left.
SIENA, PORTA SAN VIENE.
Nativity. Fresco.
On soffit of arch a glory, with cherub in centre; three angels on either side singing and pointing downwards to centre of fresco, where, before a classic temple, kneels the Madonna with clasped hands, adoring her Child. Groups of angels on either side and above her.
Inscription: Deiparæ Virgini pro victoria, libertate et salute hujus urbis, populus senensis ejus nomini devotus. A.D. MDXXXI.
“Very ruined, but fine.”—Burckhardt.
SIENA, CASA BAMBAGINI.
Pietà. Fresco.
Madonna, in faded blue, with dead Christ upon her knee; angels’ heads around her.
A very fine drawing for this exists in the Uffizi.
SIENA, ARTE DEI CALZOLAI, PIAZZA TOLOMEI.
Madonna and Saints. Fresco.
The Virgin and Child, with Saints Francis, John, Roch, and Crispin with a shoe in his hand.
Quite invisible through dirt and smoke.
1530.
SIENA, VILLA GRICCIOLI. (Formerly the Monastery of S. Eugenio.)
Procession to Calvary. Fresco. 2.38 × 1.62 = 7.11 × 5.4.
Our Lord in red, with crown of thorns. Simon bearing the end of the Cross. St. Veronica kneels to the right, lifting her handkerchief. Behind her stands the Madonna. In background a crowd of soldiers.
Faces of Christ and St. Veronica very much restored.
1525. This fresco also came from the Compagnia di Sta. Croce.
SIENA, ST. ANNA IN CRETA.
The Miracle of the Loaves and Fishes. Fresco.
Our Lord blessing the five loaves which a child presents to Him. Group of disciples behind Him. Landscape background with Roman arch.
To right—
Group of Disciples. Fresco.
To left—
Crowd of Men and Women with Empty Baskets. Fresco.
Above the entrance—
Pietà. Fresco.
To right—
St. Anne enthroned. Fresco.
Beneath her, the Virgin and Child, flanked by two Olivetan brothers.
Very much injured.
To left—
A Bishop standing amid Six kneeling Olivetans. Fresco.
In soffit of arch—
Medallion with Bust of Our Lord. Fresco.
SIENA, MONTE OLIVETO, MAGGIORE, CLOISTER.
A series of frescoes representing—
1. St. Benedict leaving Home.
St. Benedict, in blue robe and orange drapery, sets off upon a white horse for the School of Rome, accompanied by his nurse in pink, mounted upon an ass. His mother and father stand to the left, and the town of Norcia lies perched upon a hill in the right middle distance.
2. The Roman School.
The students, ranged on either hand under an open colonnade, are instructed by a professor from a raised throne in the centre. St. Benedict turns away in disgust to the right.
3. The Miracle of the Sieve.
To the left, within the house, the saint and his nurse are praying over the broken sieve. Outside, a group of six men and a child, among whom is the portrait of Sodoma himself with a crow and two badgers. The mended sieve hangs on the columns of a temple in the background.
4. St. Benedict taking the Monastic Habit.
In the middle distance to the left the saint is seen approaching in his blue and yellow robes. In the foreground is the monk Romano who invests him with the white habit which was the earliest dress of the Benedictines. To the right he is seen in his new garb, meditating.
5. St. Deodato feeds St. Benedict.
At the entrance to a cell, in a clump of rocks, St. Benedict kneels in prayer. From above, the hermit lets down a basket of bread with bell attached. The devil, in form of a snake, glides up to break the cord. Landscape background.
6. St. Benedict’s Easter Dinner.
A window breaks into the middle of this fresco. In the right section is seen the priest in red, cooking his Easter meal, and in the foreground receiving the heavenly instruction to carry it to the saint. To the left he has spread the meal upon a rough stone table, and he and his servant wait upon the saint.
7. St. Benedict preaching to the Shepherds.
Seven peasants are grouped around him; one, in red cloak and cap, is seated. An old man in white undershirt carries a basket of cherries. To the right, a youth, clad in skins, leans listening upon his staff, a dog at his feet. Landscape background.
8. St. Benedict’s Temptation.
To the left, the saint sits at the entrance of his cell, a red Bible on his knee. To the right, he has thrown off his garments and is rolling in the bed of thorns. A broad plain with winding river behind.
9. The Hermits visit St. Benedict.
Six brown hermits kneel, beseeching the saint to become their leader. In middle distance, to the right, he is seen arriving at the hermitage.
The heads are full of humour and expression, evidently portraits.
10. The Attempt to poison the Saint.
Beneath an open colonnade St. Benedict, seated at table, breaks the glass of poisoned wine which five of the rebellious hermits offer him. To the right he is seen leaving the hermitage for ever.
11. The building of Subiaco.
To the right, St. Benedict, with white hood drawn up and staff in hand, directs the building of the cloister. Two monks accompany him. A dark man in the foreground is breaking stone.
12. SS. Maurus and Placidus brought to the Saint.
A very crowded composition, about thirty-three figures in foreground. To the left, St. Benedict blesses the two children, who are presented by their fathers, in green and blue robes. A boy in smart parti-coloured hose and slashed sleeves looks on, and a centurion in green dress and blue mantle leans upon his spear to the right.
There is much colour in this fresco, and several men on horseback.
13. The healing of a Boy possessed.
A distinctly naïve presentment. Under an altar St. Benedict and two monks are seen kneeling, while a devil leads away one of the brothers. Outside, the figure of St. Benedict is repeated, slashing the shoulders of the truant monk, while the evil spirit flies away in the air.
14. St. Benedict raising Water from the Rock.
In background a steep rocky hill. The saint, kneeling, prays for water, which gushes out of the rock. To the left, he receives the thanks of a group of kneeling monks.
15. The Miracle of the Hatchet.
St. Benedict kneels on a promontory in the middle of lake, accompanied by young monks, fishing for the hatchet. On shore, to left, an old monk also fishes. In left distance St. Benedict blesses two young brothers.
16. Maurus saving the Life of Placidus.
Under a loggia to the left Maurus relates how his companion has fallen into the river. On the right, Maurus, sent by St. Benedict, walks upon the water to save Placidus. Tufty shrubs grow on the banks.
17. The Theft of the Wine and Bread.
This fresco is broken by a door into two compartments. To the left, St. Benedict confides flask to kneeling youth in orange robes; to right, the same youth goes into the wilderness.
This fresco has more colour than those immediately preceding it.
18. Fiorenzo’s Attempt to poison St. Benedict.
To the left Fiorenzo confides the poisoned roll to a servant, who, in the foreground, presents it to the saint, who is seated at table, being served by the brothers with wholesome viands, while a crow on the floor eats the roll.
19. Fiorenzo introduces wicked Women into the Convent.
To left, a group of monks with an ass; to right, a crowd of women, the foremost in shot crimson and green, the second in sky blue, the third in blue robe with orange mantle, the fourth in black. St. Benedict, from a loggia above, preaches repentance to them.
20. The Peasant liberated.
St. Benedict, with open book on lectern, raises his left hand to free a peasant from the ropes by which he has been bound by two knights. To right, a boy, in red, yellow, and white hose, orange doublet, and black cap, holds white horse.
21. The Monk pursued by a Dragon.
To the left, St. Benedict, with cowl drawn over his face, and accompanied by three monks, pardons kneeling monk, who, at right, is represented as being chased by a dragon.
22. Death of St. Benedict.
To the right, a Benedictine gives the Host to a priest, and, to the left, the same priest, with five white-robed boys following, lays the Host on the dead body of the Saint.
23. The Funeral Mass of St. Benedict.
In centre a classical colonnade represents church with gilt Gothic altar-piece. Three priests in cloth of gold say Mass; to right, a choir chants from book on lectern. In foreground kneels a group of women in bright gowns and with elaborately braided hair. Six men sit on a bench to the right, and, to the left, two nuns are seen slinking down the stairs.
24. Apparition of St. Benedict.
Two monks in bed to the left; St. Benedict bends over them with model of monastery in his hand. In the open air, to the right, are seen men building up the red walls of the monastery.
25. The Multiplication of Bread.
To the left, St. Benedict and three monks blessing sacks of flour; beautiful sunset over purple hills seen through open door. In refectory, to right, six monks at table. A seventh serves them, and above, from a pulpit, another reads aloud.
26. The burning of Monte Cassino.
In middle foreground, a number of Gothic knights and horses in gay robes and caps, servants and pages. To right, a somewhat confused crowd of wrestling figures. In right background, the Goths are seen scaling the walls of Monte Cassino and carrying faggots to fire it. To the left, the tents of the Goths stretch across the country.
Very full of colour.
On stairs—
Coronation of the Virgin.
Within a vesica composed of tiny cherub heads, Our Lord in mauve and red, places the crown upon the head of the Virgin.
On cloister arch—
St. Benedict instituting his Order.
The saint, in white, in centre of a large hall, hands a book in either hand to groups of his disciples. To left is faintly visible half the figure of a man in red cap and gown.
Christ bearing the Cross.
Three-quarter figure, crowned by thorns, turned towards right, turning face towards spectator. Soldier from behind strikes Him.
Christ bound to the Column.
Figure nude, save for slight muslin drapery. Bound to column with hands behind Him. Mauve sky and green hills.
1505-1506.
Madonna with St. Peter and St. Michael.
Over the door of the Father-General’s room.
Pietà.
On one of the staircases.
TURIN, GALLERY.
Madonna enthroned. Panel. 2.25 × 1.54 = 7.6 × 5.2. [No. 63.]
The Virgin, in red robe, with indigo mantle turned back with orange, is seated upon a throne with curtains held back by two flying putti. Beneath her are grouped St. Catharine of Alexandria in emerald green, St. Jerome with his lion, and St. John with his eagle, in shades of red brown, and St. Lucy in emerald green.
The latter and the two putti seem to have been very much retouched, and the whole panel is highly varnished. The Virgin, however, seems to be in fairly good condition.
About 1512.
Brought from Colle in Val d’Elsa, and sold to the gallery by Cav. Rosselli Del Turco of Florence for 1200 scudi.
Holy Family. Panel. 0.64 × 0.45 = 2.2 × 1.6. [No. 56.]
Madonna, in crude red and blue robes, before olive-green canopy. Christ Child playing with bird. St. Joseph, clean-shaven, peers over her left shoulder.
From Casa Tolomei, Siena. Sold to the gallery by Baron Garriod.
Lucrezia. Panel. 0.99 × 0.76 = 3.4 × 2.7. [No. 59.]
Lucrezia, in bluish green robe and white vest, with red hair, holds the dagger in her right hand ready to strike. Eyes raised; mouth, with square corners, slightly open. Collatinus to her left in dark green. To right a figure in a turban, which might be that of a female, but which is believed to be her father. Bust of Tarquin behind.
Very cold in colour, flesh-tints blue.
From Royal Palace.
TREQUANDA, CASTELLO DI, COLLEGIATA.
Ascension. Fresco.
This fresco is doubtfully admitted to be by Sodoma by Frizzoni, who holds it one of his least successful works.
VAPRIO, VILLA MELZI.
Madonna and Child. Fresco.
A colossal figure of the Virgin, visible to waist only, with parted flowing hair, holding the infant Christ upon her left arm and clasping His right hand with her right. Very unequal in its drawing.
Ascribed to Sodoma by Morelli and Frizzoni.
Date between 1518 and 1525.
VENICE, LAYARD COLLECTION.
Madonna and Child. Panel.
VERCELLI, COLLECTION OF SIGNOR AVOCATO ANT. BORGOGNA.
Holy Family. Circular.
Madonna and St. Joseph adoring infant Christ, with kneeling angel and little St. John. Much damaged. Formerly attributed to Cesare da Sesto.
Early work.
Bought at the Scarpa sale.