This picture, which was formerly in the church of San Niccolo de' Frari at Venice, represents the consecration of Nicholas (for whom see 1171) as Bishop of Myra, in Syria (hence the turbans of the attendants). Two dignitaries of the Church are presenting him to the patriarch, who holds aloft the symbolical cross of the Redeemer, and with his right hand gives his blessing. The bishop-elect abases himself meanwhile that he may be exalted, while the angel descending with the mitre and crozier signifies that his "call" is from above. Clearly it is the pageantry of a Church function that fascinates the painter. "His art is seen at its best," says Sir Edward Poynter, "in the grouping and light and shade in this picture. The boy kneeling on the right is a masterpiece of silvery colour, and, with his red stockings, gives vivacity to the whole composition." We may also observe in this picture the employment of a "glaze." "The kneeling figure of the Saint is robed in green, with sleeves of golden orange. This latter colour is carried through as under-painting over the whole draped portions of the figure, the green being then floated over and so manipulated that the golden tint shows through in parts and gives the high lights on the folds" (Baldwin Brown's _Fine Arts_, 1891, p. 310). 27. THE POPE JULIUS II. _Raphael_ (Urbino: 1483-1520). _See_ 1171. This is one of nine replicas, or contemporary copies, of the portrait in the Uffizi at Florence. Julius died in 1513; the portrait belongs, therefore, to the earlier part of Raphael's Roman period.