spectators, or assistants, into many a sacred foreground and background among the friends and kinsmen of the Holy Family, among the very angels, gazing, conversing, standing firmly and unashamed. During his apprenticeship at Perugia Raphael visited and left his work in more modest places round about, along those seductive mountain or lowland roads, and copied for one of them Perugino's "Marriage of the Virgin" significantly, did it by many degrees better, with a very novel effect of motion everywhere, and with that grace which natural motion evokes, introducing for a temple in the background a lovely bit of his friend Bramante's sort of architecture, the true Renaissance or perfected Quattro-cento architecture. He goes on building a whole lordly new city of the like as he paints to the end of his life. The subject, we may note, as we leave Perugia in Raphael's company, had been suggested by the famous mystic treasure of its cathedral church, the marriage ring of the Blessed Virgin herself. Raphael's copy had been made for the little old Apennine town of Citta di Castello; and another place he visits at this time is still more [44] effective in the development of his genius. About his twentieth year he comes to Siena--that other rocky Titan's hand, just lifted out of the surface of the plain. It is the most grandiose place he has yet seen; it has not forgotten that it was once the rival of Florence; and here the patient scholar passes under an influence of somewhat larger scope than Perugino's. Perugino's pictures are for the most part religious contemplations, painted and made visible, to accompany the action of divine service--a visible pattern to priests, attendants, worshippers, of what the course of their invisible thoughts should be at those holy functions. Learning in the workshop of Perugino to produce the like--such works as the Ansidei Madonna--to produce them very much better than his master, Raphael was already become a freeman of the most strictly religious school of Italian art, the so devout Umbrian soul finding there its purest expression, still untroubled by the naturalism, the intellectualism, the antique paganism, then astir in the artistic soul everywhere else in Italy. The lovely work of Perugino, very lovely at its best, of the early Raphael also, is in fact "conservative," and at various points slightly behind its day, though not unpleasantly. In Perugino's allegoric frescoes of the Cambio, the Hall of the Money-changers, for instance, under the mystic rule of the Planets in person, pagan personages take their place indeed side by side with the figures of the New [45] Testament, but are no Romans or Greeks, neither are the Jews Jews, nor is any one of them, warrior, sage, king, precisely of Perugino's own time and place, but still contemplations only, after the manner of the personages in his church-work; or, say, dreams--monastic dreams--thin, do-nothing creatures, conjured from sky and cloud.