his has escaped destruction or whitewash. In his house at Urbino, there is a small mural painting, removed many years since from the ground-floor to the first story, which tradition fondly claims as a boyish production of Raffaele, but which Passavant ascribes to Sanzi, conjecturing it to represent his wife and child. It is impossible to pronounce a satisfactory judgment as to the master, from the load of over-painting in oil. Though called a Madonna and Child, it seems rather a gentle mother, who, having hushed her babe to sleep upon her knee, reads from the breviary on a stand by her seat, and the composition and attitudes present a charming naïveté and natural expression. Connoisseurs agree in rejecting its claims as a work of Raffaele; nor does it quite resemble his father's usual type, though it is difficult to substitute any more plausible theory for the conclusion of Passavant. The reader may form his own judgment from the accompanying outline, bearing in mind that much of the drapery belongs to the pencil of a merciless restorer. [Footnote *161: See works quoted p. 138, note *1 _supra_.] [Footnote 162: _Elogio Storico di Giovanni Santi_; Rafael von Urbino. The few facts of importance which the Abbé's microscopic researches have ascertained are scarcely extricable from the confusion that prevails in his eulogy and its accompanying, or rather darkening, notes. The catalogue of Sanzi's works is useful to travellers, though sadly deficient in judicious criticism. The good Padre was more able to appreciate a mouldering MS. than a fine painting.] [Footnote 163: See vol. I., p. 94.] [Footnote 164: See it already described at p. 138.] [Footnote 165: See Appendix III.] [Illustration: Rafaello Sanzi di Anni Sei nato il dì 6 apr. 1483 Sanzi Padre dipinse _Gio. Sanzi pinx._ _L. Ceroni sculp._ RAPHAEL, AGED SIX YEARS _From a picture once in the possession of James Dennistoun_] * * * * *