Villa Borghese & Northern Rome - Rome - page 556

In Sala IX don't miss Raphael's extraordinary La Deposizione di Cristo (The Deposition;
1507), and his charming Dama con Liocorno (Lady with a Unicorn; 1506). Also see the
superb Adorazione del Bambino (Adoration of the Christ Child; 1499) by Fra Bartolomeo
and Perugino's Madonna col Bambino (Madonna and Child; early 16th century).
Next door, Correggio's Danäe (1530-31) shares wall space with a willowy Venus, as
portrayed by Cranach in his Venere e Amore che Reca Il Favo do Miele (Venus and Cupid
with Honeycomb; 1531).
Moving on, Sala XIV boasts two self-portraits by Bernini, and Sala XVIII contains two sig-
nificant works by Rubens: Compianto su Cristo morto (The Deposition; 1603) and
Susanna e I Vecchioni (Susanna and the Elders; 1605-07).
To finish off, Titian's early masterpiece, Amor Sacro e Amor Profano (Sacred and Pro-
fane Love; 1514), is the star turn of Sala XX and one of the collection's most prized works.