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He is also right in pointing out that no Greek sculptor approached the beauty of facial form and expression which we recognise in Raffaello's Madonna di San Sisto, in Sodoma's S. Sebastian, in Guercino's Christ at the Corsini Palace, in scores of early Florentine sepulchral monuments and pictures, in Umbrian saints and sweet strange portrait-fancies by Da Vinci.
One painting representing the "Temptation of Monks by Dancing Women" carries the melody of fluent lines and the seduction of fair girlish faces into a region of pure poetry. These frescoes are superior to Sodoma's work in the Farnesina.
The decoration of the ceiling had already been begun by Sodoma, and Sodoma's decorative framework Raphael allowed to remain; partly, perhaps, from courtesy, more probably because its general disposition was admirable and not to be improved on. If Sodoma had begun any of the larger paintings which were to fill his frames they were removed to make way for the new work.
The mystic sympathies of "Leda and the Swan," as imaged severally by Lionardo and Michael Angelo; Correggio's romantic handling of the myths of "Danaë" and "Io;" Titian's and Tintoretto's rival pictures of "Bacchus and Ariadne;" Raphael's "Galatea;" Pollajuolo's "Hercules;" the "Europa" of Veronese; the "Circe" of Dosso Dossi; Palma's "Venus;" Sodoma's "Marriage of Alexander" all these, to mention none but pictures familiar to every traveller in Italy, raise for the student of the classical Revival absorbing questions relative to the influences of pagan myths upon the modern imagination.
Many of the townsfolk were out too on this day of days and the streets were crowded with gay, vociferous people. There was so much to see. The old picture-gallery was free to all, and the very beggars might go in to see the sly, pale, almond-eyed Byzantine Madonne in their gilt frames, and Sodoma's tormented Christ at the Pillar with the marks of French bullets in the plaster.
Opere Burlesche, vol. iii. pp. 39-46. Near Siena. These pictures are a series of twenty-four subjects from the life of S. Benedict. In the church of S. Domenico, Siena. In the Uffizzi. See also Sodoma's "Sacrifice of Isaac" in the cathedral of Pisa, and the "Christ Bound to the Pillar" in the Academy at Siena.
And in truth it is so, as may be seen, apart from the work itself, from the design by Sodoma's own hand which I have in my book of drawings.
And deep below, the arches of Nero's Villa with demons no doubt galore. Those giottesque chapels hold in them, all hung with lamps, a small tufo grotto, the one down which, as in Sodoma's fresco, the angels sent baskets of provisions and the devils made horns at St. Benedict. ROME, March 30.
Remember, I know your Sebastian; and know also Il Sodoma's, which he made as a banner for the Confraternity of that famous Saint In Camollia." "I seek the essence of fact," he replied; "which, believe me, never lay in the displacement of an arrow-point; no, nor in the head of a boil.
And above it all shone a marble church, white as a bride; while now and again on a favourable waft of wind came the fragrant memory of Saint Catherine. It is the peak of earth most charged with wayward emotions pity and terror blent together into a poignant beauty, a sorcery. Not far off is Sodoma's lovely Catherine fainting under the sweet dolour of her spousals.
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