medieval art as well, would accept, of course, of work conceived in that so seductively mixed manner, ten per cent of even Raphael's later, purely classical presentments. That picture was suggested by a fine old intaglio in the Medicean collection at Florence, was painted, therefore, after Raphael's coming thither, and therefore also a survival with him of a style limited, immature, literally provincial; for in the phase on which he had now entered he is under the influence of style in its most fully determined sense, of what might be called the thorough-bass of the pictorial art, of a fully realised intellectual system in regard to its processes, well tested by experiment, upon a survey [49] of all the conditions and various applications of it--of style as understood by Da Vinci, then at work in Florence. Raphael's sojourn there extends from his twenty-first to his twenty-fifth year. He came with flattering recommendations from the Court of Urbino; was admitted as an equal by the masters of his craft, being already in demand for work, then and ever since duly prized; was, in fact, already famous, though he alone is unaware--is in his own opinion still but a learner, and as a learner yields himself meekly, systematically to influence; would learn from Francia, whom he visits at Bologna; from the earlier naturalistic works of Masolino and Masaccio; from the solemn prophetic work of the venerable dominican, Bartolommeo, disciple of Savonarola. And he has already habitually this strange effect, not only on the whole body of his juniors, but on those whose manner had been long since formed; they lose something of themselves by contact with him, as if they went to school again.