But in the first years of the sixteenth century we see him develop a new style, and paint in a manner altogether freer and grander than ever before. This marked improvement is especially visible in the composition of his pictures which, instead of depending on the expression of single heads, now acquire a grace of line and completeness that bring them near to the best Florentine works of the period. The cause of this advance can only be ascribed to one influence—the friendship which Francia had formed with Raphael. It is evident from many of our master’s works at this time that he had studied Raphael’s pictures; but beyond this, both the presence of this new element and certain expressions which Raphael uses in his letter of September, 1508, seem to imply the existence of a personal acquaintance between the two masters. He had formed, we know, the highest opinion of Francia’s merit, and gives expression in emphatic terms to his conviction that no Madonnas are so beautiful or so well calculated to inspire devotion as the creations of the Bolognese master. And on receiving Francia’s portrait he declares it to be so life-like that as he stands before it he feels himself in his friend’s presence and seems to hear his voice. Everything points to more than a mere intercourse by letter, and there can be no reason to doubt the generally assumed fact that Raphael paid a visit to Bologna on his way from Florence to Urbino in 1506. But long before this they had a mutual object of interest in Timoteo Viti, a young painter of Urbino, who became one of Francia’s favourite pupils and was the first link between him and Raphael. In July, 1490, Timoteo came to Bologna to perfect himself in the goldsmith’s art in Francia’s workshop. The date is recorded in a register kept by Francia, where we read the following entry:— “Timoteo Viti da Urbino was taken into our shop. He will receive no salary during the first year, and sixty-six florins for three months in the second.” In 1491 another entry records the settlement of accounts with Timoteo, and mentions that as he is desirous to become a painter he will now pass into the hall where the other artists work. Four years later we find one more entry, which is as follows:— “On the 4th day of April, 1495, my beloved Timoteo left us. God grant that all blessing and good fortune may be with him.” Timoteo returned to Urbino, where he became Raphael’s assistant, and carried with him the fame of the master who remembered him so kindly. Soon Francia received commissions from the Duke of Urbino, for whom he painted a Lucrezia in the act of plunging the dagger into her breast, and a marvellous set of horse trappings decorated with gaily-coloured birds and foliage.