The expulsion of the Bentivogli, although a severe shock to Francia, does not appear to have diminished his powers of activity, and many of his best works belong to the years immediately following this event, which he deplored so deeply. In 1509 he painted the “Baptism of Christ,” now at Dresden, which still retains its rich glow of colour in spite of injuries received from the splinters of a shell during the bombardment of that city in 1760. Christ is represented standing on the waters of Jordan while the Baptist bends forward from one of the banks, and two angels with wistful faces wait on the other. A good replica of the subject, with the same hilly landscape but some variations, is at Hampton Court, and originally belonged to the Mantuan collection purchased by Charles I. The Dresden Gallery possesses two other fine works of Francia, an “Adoration of the Magi,” with a lake and mountain background, which bears strong marks of Raphael’s influence, and a “Madonna” from the Quandt collection. This last is one of the half-length figures of the Virgin with the child, and one or more attendant saints, which became so popular a subject in Francia’s school, and of which so many repetitions are to be seen. The example in the National Gallery, acquired from the Beaucousin collection, has unfortunately lost much of its original clearness, owing to the wash of burnt sienna which has been laid on the surface. Another finely conceived work, which has been ruined by repainting, is the “Madonna and Saints” of the Belvedere at Vienna, while the same fate has attended the Berlin altar-piece, originally painted for the Friars of the Osservanza at Modena. [Illustration: THE MADONNA OF THE ROSE-GARDEN. BY FRANCIA. _In the Pinakothek, Munich._]