WHENCE THE ART OF ROME? 289 



phael's time entered some one of the many composi- 

 tions represented, theology, poetry, philosophy, and 

 justice constituting the leading topics in the illustra- 

 tions. The chief characters are mythological or bib- 

 lical, the latter taking the lead. A predominant feat- 

 ure of the paintings is to show the triumph of Christ- 

 ianity over paganism. The work's of Raphael exhibit 

 a fertility of invention, and a grace and delicacy of 

 treatment, which characterize the genius and talents 

 of the almost youthful artist. 



In what passes as the Picture Gallery of the Vat- 

 ican are displayed hundreds of fine paintings the 

 productions of such artists of mediaeval and modern 

 times as Bellini, Fra Angelico, Garofalo, Murillo, 

 Titian, Perugino, Sacchi, Guido, Gorreggio, Poussin, 

 and other painters of greater or less renown. 



The Basilicas in and about Rome are ornamented 

 with paintings of great merit, the subjects mostly 

 representing Bible scenes. Not infrequently the im- 

 portance of a church depends largely upon the cost 

 and character of its pictorial adornment. Almost 

 every high altar is surmounted with " the Virgin," 

 surrounded by angels and saints, and these paintings 

 usually exhibit considerable artistic merit. The repe- 

 tition of the subject is so frequent that the visitor be- 

 comes weary of it. The " Annunciation" constitutes 

 a theme often seized upon by the painter of basilican 

 pieces. The Madonna as Mater is usually presented 

 with the infant Jesus in her arms; and the picture is 

 quite pleasing to every body, to say nothing of the 

 adoration bestowed upon it by the faithful. 



The Catacombs of Rome are, by a law repeatedly 

 re-enacted, outside of the walls of the city. Crema- 

 tion became common among the Romans at an early 



