Page:Essays and Studies - Swinburne (1875).pdf/367

 swoon. There is also a small oval-faced figure of a girl at prayer; and a noble design of four angels rushing down to judgment, with violent wings and blowing trumpets that betray the artist; their fierce flight and thunder of summoning sound have roused the dead already; some are precipitated hellward, some aspire as on sudden wings; three newly roused sit still and gaze upward. Again, a naked woman startled in bed by the advent of a witch with cap and broom. In the lower rooms, among the unregistered masses of designs, I saw a huge port folio crammed with rough figure-sketches by Tintoretto, in his broad gigantic manner, but too slight to be of any descriptive interest, though to him they doubtless had their use and might have the like to an artist who should now care to study them.

Assigned to Raffaelle is a sketch in pen-and-ink of a cavalcade passing a seaport town, recognisable as the first design for one of the great series at Siena representing the life of Æneas Sylvius, in which Raffaelle is supposed to have assisted Pinturicchio. The name of "Messer Domenicho da Capranicha" (the Cardinal) is scribbled on the drawing itself; and the composition is pretty much that of the fresco; the horses turn at the same point, the groups are massed and the line of harbour shown in the same manner. By Giulio Romano there are two designs for Circe; in one the sorceress lets down an urn among her transformed beasts, holding it may be some strange food or fume of magic drugs; among them are two griffins and an eagle. In the other design she is in the act of transformation, an incarnate sorcery; two men yet undegraded are already confounded and lost