A very ideal version of this subject is where St. Peter kneels at the feet of the Madonna, and the Infant Christ, bending from her lap, presents the keys to him; as in a singularly fine and large composition by Crivelli,[179] and in another by Andrea Salaino. Another, very beautiful and curious, is in the possession of Mr. Bromley of Wootten.[180] * * * * * After the ascension of our Saviour, the personal history of St. Peter is mingled first with that of St. John, and afterwards with that of St. Paul. ‘Peter and John healing the lame man at the gate called Beautiful’ is the subject of one of the finest of the cartoons at Hampton Court. Perin del Vaga, Niccolò Poussin, and others less renowned, have also treated it; it is susceptible of much contrast and dramatic effect. ‘The sick are brought out and placed in the shadow of Peter and John that they may be healed,’ by Masaccio.[181] ‘Peter preaching to the early converts:’ the two most beautiful compositions I have seen, are the simple group of Masaccio; and another by Le Sueur, full of variety and sentiment. ‘Peter and John communicate the Holy Ghost by laying their hands on the disciples,’ by Vasari.[182] I do not well remember this picture. The Vision of Peter: three angels sustain the curtain or sheet which contains the various forbidden animals, as pigs, rabbits, &c. (as in a print after Guercino). ‘Peter baptizes the Centurion’ (very appropriately placed in the baptistery of the Vatican). St. Peter meets the Centurion; he blesses the family of the Centurion. All commonplace versions of very interesting and picturesque subjects. ‘The Death of Ananias.’ Raphael’s cartoon of this awful scene is a masterpiece of dramatic and scenic power; never was a story more admirably and completely told in painting. Those who had to deal with the same subject, as if to avoid a too close comparison with his unapproachable excellence, have chosen the death of Sapphira as the _motif_: as, for example, Niccolò Poussin.[183] ‘Dorcas or Tabitha restored to life.’ One of the finest and most effective of Guercino’s pictures, now in the Palazzo Pitti: the simple dignity of the apostle, and the look of sick amazement in the face of the woman restored to consciousness, show how strong Guercino could be when he had to deal with natural emotions of no elevated kind. The same subject, by Costanzi, is among the great mosaics in St. Peter’s. ‘The Death of Dorcas,’ by Le Sueur, is a beautiful composition. She lies extended on a couch; St. Peter and two other apostles approach the foot of it: the poor widows, weeping, show to St. Peter the garments which Dorcas had made for them (Acts ix. 39). * * * * *