better or more graceful could be painted, what with the beauty of his features and the proportionate loveliness of his person. And in addition there is a landscape, which is singularly beautiful in its absolute perfection. [Illustration: THE MASS OF BOLSENA (_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_) _Anderson_] Afterwards, going on with the apartments of the Palace, he painted a scene of the Miracle of the Sacramental Corporal of Orvieto, or of Bolsena, whichever it may be called. In this scene there may be perceived in the face of the priest who is saying Mass, which is glowing with a blush, the shame that he felt on seeing the Host turned into blood on the Corporal on account of his unbelief. With terror in his eyes, dumbfoundered and beside himself in the presence of his hearers, he seems like one who knows not what to do; and in the gesture of his hands may almost be seen the fear and trembling that a man would feel in such a case. Round him Raffaello made many figures, all varied and different, some serving the Mass, others kneeling on a flight of steps; and all, bewildered by the strangeness of the event, are making various most beautiful movements and gestures, while in many, both men and women, there is revealed a belief that they are to blame. Among the women is one who is seated on the ground at the foot of the scene, holding a child in her arms; and she, hearing the account that another appears to be giving her of the thing that has happened to the priest, turns in a marvellous manner as she listens to this, with a womanly grace that is very natural and lifelike. On the other side he painted Pope Julius hearing that Mass, a most marvellous work, wherein he made a portrait of Cardinal di San Giorgio, with innumerable others; and the window-opening he turned to advantage by making a flight of steps, in such a way that all the painting seems to be one whole: nay, it appears as if, were that window-space not there, the work would in nowise have been complete. Wherefore it may be truly credited to him that in the invention and composition of every kind of painted story, no one has ever been more dexterous, facile, and able than Raffaello.