Page:Cyclopedia of painters and paintings - Volume I.djvu/368

 *can; fresco. Constantine, kneeling at the font in the Baptistry of the Lateran, is baptised by Pope Sylvester (portrait of Clement VII.) in presence of Church officials, pages, and a Roman family of converts; Crispus, his son, awaits his turn to receive baptism. Designed by Raphael; painted in 1524 by Il Fattore, who made unjustifiable deviations from the original drawing. The figure in black dress and velvet cap is his own portrait; one in black, leaning against a column, is Baldassare Castiglione. Passavant says the composition is not by Raphael. It is the weakest of the frescos in the hall. Engraved by Fr. Aquila, Salandri, etc.—Passavant, ii. 302; Vasari, ed. Mil., v. 530.

CONSTANTINE, DONATION OF, Raphael (?), Sala di Costantino, Vatican; fresco. Constantine's gift of Rome to Pope Sylvester. The Pope, seated on a throne in the old Basilica of St. Peter, blesses the kneeling Emperor, who presents him with a golden figure representing Rome; among the many represented as attendants are Giulio Romano, Baldassare Castiglione, and the poets Pontano and Murello. Designed by Raphael; painted about 1524 by R. del Colle; some additions by G. Romano. Engraved by B. Franco; by Fr. Aquila, Alogedo Fabri, Landon.—D'Anvers, 95; Passavant, ii. 303; Vasari, ed. Mil., v. 530.

CONSTANTINE AND HELENA, GLORY OF, Palma Vecchio, Brera, Milan; wood, three panels, life-size. SS. Constantine and Helena supporting the cross, in middle; SS. Roch and Sebastian in landscapes, at sides. Presented to Brera by Duke Melzi.—C. & C., N. Italy, ii. 467.

CONSTANTINE, VICTORY OF, Raphael and Giulio Romano, Sala di Costantino, Vatican; fresco. The battle between Constantine and Maxentius at the Milvian Bridge (Ponte Molle), near Rome ( 312). One of the largest historical subjects ever painted. Represents the crisis of victory, when Constantine, on horseback, is aiming a spear at Maxentius, who struggles with his horse in the Tiber; in background, the Monte Mario; above, three angels, with swords. Designed by Raphael; painted after his death by G. Romano. Engraved by G. B. Cavalleriis, C. Cort, Bonasone, Scalberge, and Aquila.—Vasari, ed. Mil., iv. 369; v. 529; Kugler (Eastlake), ii. 438; D'Anvers, 94; Passavant, ii. 300.

CONSTANTINE, VISION OF, Raphael and Giulio Romano, Sala di Costantino, Vatican; fresco. Constantine, standing on a platform at left, with a Roman captain beside him, relates his vision to four standard-bearers; above, the apparition of the shining cross, and below, soldiers in surprise and terror hurrying among tents; in background, the mausoleum of Hadrian, pyramid of Caius Cestius, and other ancient monuments. Designed by Raphael; painted by G. Romano, who introduced (in the corner) the dwarf Gradasso da Norcia, mentioned in poetry of Berni. Engraved by Aquila, Salandri, and Landon.—Passavant, ii. 299; Vasari, ed. Mil., v. 529.

CONSTANTINOPLE, ENTRY OF CRUSADERS INTO, Eugène Delacroix, Versailles Museum; canvas. Capture of the city by the Crusaders in 1204. In centre, Baldwin, Count of Flanders, mounted and followed by knights and equerries bearing pennons, is riding in front of a palace between kneeling women and old men who implore his pity; in background, the Bosporus and the houses and walls of the city; in middleground, right, a melée in the streets. Salon, 1841; Exposition Universelle, 1855. Engraved by Frilley.—Gal. de Versailles, i. Pl. 41; Larousse, iv. 1032.

CONSULTATION, Pieter de Hooch, formerly in Narischkine Gallery, St. Petersburg; wood, H. 2 ft. 3 in. × 1 ft. 10 in. Interior of a room; four figures. A gentleman, in a black velvet coat, is leaning upon a table with his hand on the wrist of a lady sitting beside him; a woman, in a red jacket bordered with ermine and a blue skirt, stands by the window, filling a glass, and a second gentleman stands on the further side of the table, with a pipe in his