The universal respect in which he was held by his countrymen saved him from sharing in the ruin of his patrons, and he retained his office at the head of the Mint under Pope Julius II. In this capacity he was required to coin the money which the Pope threw to the populace on his triumphal entry and which bore the inscription:—“Bononia per Julium a tyranno liberata.” But although he was forced to lend his talents, as Michelangelo did on another occasion, to the service of the victor, he could not conceal the bitterness of his grief, and for a whole year after the flight of the Bentivogli still lamented the loss he had suffered. It was then that Raphael addressed his well-known letter to Francia, begging him to take heart, and assuring him of his sympathy. The two painters had, it appears, agreed to exchange portraits, and in this letter Raphael thanks Francia for having sent him his likeness painted by his own hand. We give a translation of this interesting document, which was first discovered with Francia’s sonnet in the papers of the Lambertini family, and brought to light by Malvasia:— “My dear Messor Francesco,— “I have this moment received your portrait, which Bazotto brought me safely, without injury of any kind, and for which I thank you exceedingly. It is very beautiful, and so life-like that at times it deceives me. I seem to be with you and to hear your voice. I pray you, pardon my delays, which arise from the tasks in which I am incessantly engaged, and which have been the cause why I have not yet painted the portrait with my own hand, according to our agreement. Nor would I allow it to be painted by one of my pupils and retouched by myself, since this would not have been seemly, although I have no hope of ever equalling your work. Have compassion on me, I say, since you know by experience what it is to be deprived of liberty and bound to patrons. I am sending you by this same messenger, who returns in six days, another drawing, that of ‘The Nativity,’ somewhat different from the original, which you were good enough to praise so highly, with the same kindness with which you speak of my other works in a manner that causes me to blush. I hope that you will accept this trifle, more as a token of love and obedience than for any other reason, and if in exchange I may receive a drawing of your ‘History of Judith’ I will place it among my dearest and most precious treasures. Monsignore il Datario awaits his ‘Madonella’ with much impatience, and Cardinal Riario his large one, all of which you will hear more particularly from the said Bazotto. I, for my part, shall behold them with the same delight and satisfaction with which I see and praise all your other works, never having seen any images that are fairer or more devout and well painted. In the meantime take courage, summon up all your