However in this carton Raphael has made a boat too little to hold the figures he has placed in it; but had he made it large enough for those figures, the picture would have been all boat; and to have made his figures small enough for a vessel of that size, would have rendered them unsuitable to the rest of the set, and less considerable: there would have been too much boat, and too little figure. The second, which is the delivery of the keys, has received some injury, and is not now what Raphael made it. As this is the appearance of our Saviour after the resurrection, present authority, late suffering, humility and majesty, despotic command, and divine love, are at once visible in his celestial aspect. He is wrapt only in one large piece of white drapery, his left arm and breast are bare, and part of his legs naked, which was undoubtedly done to denote his appearing in his resurrection body, and not as before his crucifixion, when this dress would have been altogether improper. The figures of the eleven apostles all express the same passion of admiration, but discover it differently according to their characters. Peter receives his master’s orders on his knees, with an admiration mixed with a more particular attention; the words used on that occasion are expressed by our Saviour’s pointing to a flock of sheep, and St. Peter’s having just received two keys. The two next express a more open ecstasy, though still constrained by their awe of the divine presence. The beloved disciple has in his countenance wonder drowned in love; and the last personage, whose back is towards the presence, one would fancy to be St. Thomas, whose perplexed concern could not be better drawn, than by this acknowledgment of the difficulty to describe it. The apostle who stands in profile immediately behind St. John, has a yellow garment with red sleeves, which connects the figure with St. Peter and St. John, whose draperies are of the same species of colours; next is a loose changeable drapery, then another different yellow with shadows bearing on the purple, all which produce wonderful harmony. The third is the miracle of healing the cripple at the Beautiful Gate of the temple. All the figures are admirably performed; the boys are done with great judgment, and by being naked make a fine contrast. The figures are placed at one end near the corner, which varies the side of the picture, and gives an opportunity to enlarge the building with a fine portico, the like of which you must imagine must be on the other side of the main structure, all which together make a noble piece of architecture.