The portrait of a Pope of the church militant. "Raphael has caught the momentary repose of a restless and passionate spirit, and has shown all the grace and beauty which are to be found in the sense of power repressed and power at rest. Seated in an arm-chair, with head bent downward, the Pope is in deep thought. His furrowed brow and his deep-sunk eyes tell of energy and decision. The down-drawn corners of his mouth betoken constant dealings with the world" (Creighton's _History of the Papacy_). For it was in the temporal, not in the spiritual world that Julius lived and moved and had his being, and became, by his combination of military and diplomatic abilities, the most prominent political figure of his day. But, like other great princes of the time, Julius was a liberal and enlightened patron of the arts: it was he who laid the foundation-stone of St. Peter's, and who called Michael Angelo and Raphael to his court. On the green hanging which forms the background, the cross-keys of the pontifical office are indicated, and from the two corners of the back of the chair rise two shafts, surmounted by gilt ornaments in the form of acorns--in reference to the armorial bearings of the Pope's family (_della Rovere_). "No amount of elaboration in the background could disturb the attention of any one looking at the portrait of Julius the Second, by Raphael, also in the Tribune, which I cannot help thinking is _the_ finished portrait in the world. A portrait is _the most truly historical picture_, and this is the most monumental and historical of portraits. The longer one looks at it the more it demands attention. A superficial picture is like a superficial character--it may do for an acquaintance, but not for a friend. One never gets to the end of things to interest and admire in many old portrait-pictures" (G. F. Watts, R.A., in the _Magazine of Art_, January 1889). 28. SUSANNAH AND THE ELDERS. _Lodovico Carracci_ (Eclectic-Bologna: 1555-1619).