The doubts raised a few years since respecting the place of Raphael's burial have been removed. The tomb has been found, as described by Vasari, behind the altar of the church of Sta Maria Bella Rotonda, (the Pantheon,) "in a chapel which he himself had built and endowed, and near the spot where his betrothed bride had been laid." The tomb was opened in the presence of the members of the academy of St Luke, who were not a little interested in the investigation, having been long in possession of a supposed skull of Raphael, which the character-casting phrenologists had, in their zeal for their theory, held up to admiration, and as a test of the accuracy of their science. It must have been to their no small mortification that their relic was discovered to have "belonged to an individual of no celebrity." We reluctantly pass over the interesting notes from Kugler's _Hand-Book_ "on the subjects of the paintings in the Capella Sistina." To the artist, the "Extracts from the translation of Goethe's _Theory of Colours_ will be most valuable. The usual diagrams of the chromatic circle are shown to have one great defect. "The opposite colours--red and green, yellow and purple, olive and orange--are made equal in intensity; whereas the complemental colour, pictured on the retina, is always less vivid, and always darker or lighter than the original colour. This variety undoubtedly accords more with harmonious effects in painting." To indirect opposition of colours--the opposition should not only be of the colours, the hues, but in their intensity--"the opposition of two pure hues of equal intensity, differing only in the abstract quality of colour, would immediately be pronounced crude and inharmonious. It would not, however, be strictly correct to say that such a contrast is too violent; on the contrary, it appears that the contrast is not carried far enough, for, though differing in colour, the two hues may be exactly similar in purity and intensity. Complete contrast, on the other hand, supposes dissimilarity in all respects. In addition to the mere difference of hue, the eye, it seems, requires difference in the lightness or darkness of the hue." Artists who are so partial to extreme light--a white light--and, at the same time, of exhibiting vivid, strong, and crude colours, are far more unnatural in their effects than those who prefer altogether the lower scale. In fact, it is the lower scale which can alone truly show colours,--very vivid light and colour cannot co-exist. Colour is called by Kircher "_lumen opacatum_." That increase of colour supposes increase of darkness, so often stated by Goethe, may be granted without difficulty. To what extent, on the other hand, increase of darkness--or rather diminution of light--is accompanied by increase of colour, is a question which has been variously answered by various schools. The reconcilement of Goethe's theory with the practice of the best of the great Venetian colourists,