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Updated: June 21, 2025
But the truth is, that those of Foligno and Naples read ipedi, that of Jesi has in piedi, and that of Mantua i pie. The Aldine of 1502 is the earliest edition we have seen which has gli occhi.
Thus, certain pictures by Raphael, such as the famous Transfiguration, the Madonna di Foligno, and the frescoes of the Stanze in the Vatican, do not at first captivate our admiration, as do the Violin-player in the Sciarra Palace, the portraits of the Doria family, and the Vision of Ezekiel in the Pitti Gallery, the Christ bearing His Cross in the Borghese collection, and the Marriage of the Virgin in the Brera at Milan.
The invitation which the Administration of the Museum gave to the National Institute to attend the restoration of the Madonna di Foligno by RAPHAEL, is to us a sure pledge that the enlightened men of whom it is composed felt that they owed an account of their vigilance to all the connoisseurs in Europe." Paris, December 10, 1801.
It is no exaggeration to say that the variations between the editions of Foligno, Jesi, and Mantua, in orthography, inflection, and other grammatical and dialectic forms, not to speak of the less frequent, though still numerous differences in the words themselves, greatly exceed, throughout the poem, the number of lines of which it is composed.
The first was the Foligno Madonna, now in the Vatican Gallery. It was painted in 1511 for the pope's secretary, Sigismund Conti, as a thank-offering for having escaped the danger of a falling meteor at Foligno. No thoughtful observer can be slow to recognize the superiority of this composition over all others of its kind in point of unity.
The lines are so plain that a mistake is difficult in them; but, of our four editions, the Jesi is the only one which gives them correctly. Foligno and Naples read angeleti for augelletti, while Mantua gives us the astonishing word intelletti. Again, in line 98 of the same canto, all four read, exaltation dell' acqua, for the simple and correct esalazion dell' acqua.
The Madonna di Foligno is to be engraved from a drawing taken by that able draughtsman DU TERTRE. N deg. This valuable picture of RAPHAEL'S third manner is one of the most perfect that ever came from his pencil.
At Foligno, the sign of the cross which he made on the house of his host, protected it from various accidents, and particularly from fire, which did no damage to that dwelling, although the adjoining houses were three or four times on fire: the flames were even seen to take a contrary direction.
The adventure of it all was that when I reached Foligno I found it was a walled town, that the gate was shut, and that I had neither passport nor intelligible speech. There is an interesting walking sequel to this journey. I carried that night a wooden water-bottle, such as the Italian soldiers used to carry, filling it from the fountain at the gate of Assisi before starting.
A carrier who was going to Tolentino took me with him for two paoli, and for six more I might have reached Foligno in a waggon, but unfortunately a wish for economy made me refuse the offer. I felt well, and I thought I could easily walk as far as Valcimare, but I arrived there only after five hours of hard walking, and thoroughly beaten with fatigue.
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