One very instructive set of arguments Mr. Berenson draws from a close examination of Raphael's "Sposalizio" at Milan. Its shape is upright. Perugino always represented the scene in a long, narrow panel, the position of the Virgin and St. Joseph, and of the branch carried by St. Joseph, are entirely antithetical to the Umbrian fashion, while, curiously enough, Lorenzo Costa, who was probably a fellow-pupil of Raphael's, under the influence of Timoteo Vite, painted in about 1504 or 1505 a "Sposalizio," upright as is this one, at Caen, and agreeing with it in many other ways. A masterly piece of reasoning shows that Raphael's work is of the Ferrarese school and not of the Umbrian, and that instead of its being a souvenir of the Caen picture, and based upon it and greatly improved, it is, in fact, an original work upon which Lo Spagna based his picture which is now at Caen. When to these arguments are added the want of style and dignity in the Bramantesque temple at Caen, the absence of the colonnade that Perugino favoured, and which he drew from Piero della Francesca, the want of intermediate grouping, the stubborn heaviness of the draperies, so different from Perugino's light, easy folds, the hard, empty density of the foliage, the change in the distant scenery, and the absence of horizon and cloud, and finally the entirely different drawing of the feet from the manner in which Perugino drew them, the case is practically proved, and to Lo Spagna must the Caen picture be attributed. If further evidence were needed, it is ready to hand in the fact that not one Perugian letter, document, or writer attributes the "Sposalizio" to Perugino, although all speak of it with great terms of reverence, while Vasari alone gives it to Vannucci, and, as is well known, his attributions must often be taken _cum grano salis_. Having in all this agreed most gladly with Mr. Berenson, I must now part company with him in reference to another picture attributed to this same year. Few pictures have exercised critics more than has the "Apollo and Marsyas" in the Louvre. This charming little work was purchased by Mr. Morris Moore as a Mantegna. When sold to the Louvre in 1883 for 200,000 francs, it was agreed that it should be placed in the Salon Carré, under the title of "Raphael de Morris Moore." It is still called a Raphael in the Louvre catalogue, although a note is added which only commits the authorities to the statement that it is unquestionably the work of an Umbrian artist. Morelli put it first to Timoteo Vite, but confesses that he did not examine it carefully. In a later work he withdrew this ascription, and says that "it belongs most probably to a master whose style is in close affinity with that of Perugino." Mr. Berenson includes it in his list of Perugino's works, but I am much more inclined to leave the attribution where Morelli left it.