experienced person, who declared that he could recognize the character of Giulio in the dark parts of the flesh tints, and in the middle dark tints, not of a leaden color as Raffaello used, nor so well harmonized; in the greater quantity of light, and in the eyes designed more roundly, which Raffaello painted somewhat long, after the manner of Pietro Perugino.” PORTRAITS OF POPE JULIUS II. There are no less than eight portraits of Julius II. attributed to Raffaelle. 1. The original, by Raffaelle’s own hand, is in the Palazzo Pitti at Florence, the best of all; 2. a scarcely inferior one in the Tribune of the Florentine Gallery; 3. one in the English National Gallery, from the Falconieri Palace at Rome; 4. a very fine one, formerly in the Orleans Gallery; 5. an inferior one in the Corsini Palace at Rome; 6. a very fine one in the Borghese Gallery at Rome; 7. one at Berlin, from the Giustinian Gallery; 8. one in the possession of Count Torlonia at Rome. Most of these are doubtless copies by Raffaelle’s scholars, some of them finished by himself. The original cartoon is preserved in the Corsini Palace at Florence. MANNERS OF RAFFAELLE. Raffaelle had three manners; first, that of his instructor, Pietro Perugino, hence many exquisite pictures in the style of that master are erroneously attributed to him; second, the same, modified by his residence and studies at Florence, which continued till his completion of the Theology in the Vatican, though constantly improving; and the third, his own grand original manner, commencing with the school of Athens. For a very full life of Raffaelle, with Lanzi’s admirable critique, see Spooner’s Dictionary of Painters, Engravers, Sculptors, and Architects. PETER PAUL RUBENS. This preëminent painter, accomplished scholar, and skillful diplomatist, was born at Antwerp in 1577, on the feast day of St. Peter and St. Paul, for which reason he received at the baptismal font the names of those Apostles. Rubens, in his earliest years, discovered uncommon ability, vivacity of genius, literary taste, and a mild and docile disposition. His father, intending him for one of the learned professions, gave him a very liberal education, and on the completion of his studies, placed him as a page with the Countess of Lalain, in order that his son might acquire graceful and accomplished manners, so important to success in a professional career. His father dying soon afterwards, young Rubens obtained the permission of his mother, to follow the bent of his genius. He studied under several masters, the last of whom was the celebrated Otho Venius. He made such extraordinary progress, that when he had reached his twenty-third year, Venius frankly told him that he could be of no further service to him, and that nothing more remained for his improvement but a journey to Italy, which he recommended as the surest means of ripening his extraordinary talents to the greatest perfection. RUBENS’ VISIT TO ITALY.