Opposite to the portrait of the artist, close by the fresco of "Prophets and Sibyls," is a label with the words, "=Anno Salvt M.D.=," giving the definite information in what year the work was completed. It was, I take it, at this period of Perugino's life that the great Raphael first became his pupil. Vasari's statement as to Giovanni Santi taking the lad to Pietro is unconfirmed, and must be received with caution, especially as we know that Santi died in 1494. As has already been shown, Perugino was wandering, in the years previous to 1500, far and wide, and was seldom at Perugia for long together; and, as Morelli was the first to point out, it would have been impossible for him to give the regular and continuous instruction to the young lad Raphael at that time. In 1504 Raphael painted his "Sposalizio," in 1505 the fresco at S. Severo in Perugia, and probably it was several years previous to this that he painted the Dudley "Crucifixion." Professor Rossi of Perugia has announced that documents exist in that city proving that Raphael actually did not leave Urbino till the end of 1499. The information is quite credible, and is what might be expected; but it lacks confirmation, and when at Perugia I was quite unable to verify its statement. The question is still an open one. Morelli gives Raphael's earlier training to Timoteo Vite, but, to my mind, produces no distinct proof of the influence of Timoteo upon the young Raphael. It is perfectly certain that the lad was a pupil to Perugino, and it is, of course, possible--although hardly conceivable--that his tuition was taking place during the busy wandering years which preceded 1500. My own notion is that the tuition began in 1499 or 1500, and that Raphael, together with the other pupils, took his part in the Cambio decoration, probably in the work of the ceiling. There is, of course, a local tradition that in two of the faces in the fresco of "Prophets and Sibyls" are immortalised the features of Raphael and Pinturicchio. Nothing is more likely. Both pupils were of unusual and remarkable appearance, and the master may quite as well have used them as his models while working with them in the room. There can be no definite proof of what part Raphael took in the scheme of decoration, but it is pleasant to conceive him as working side by side with the master whose art influenced him so strongly, and between this time and that of 1505, when the San Severo fresco was executed, Raphael may well have been assisting Perugino in all his work, and learning from him the art in which in later days he was to reign so triumphantly as king. For the Cambio decoration Perugino appears to have received 350 _large_ gold ducats, but the final payment of the money is not made till 1507, when the juror of the Cambio, Alberto de Mansueti, records with pride the fact that he had finally settled the Cambio payments and obtained Perugino's receipt in full, dated 15th January 1507. [Illustration: