The great probability of Raphael's being in Siena in 1502, when the designs for the cartoons would be making, is proved by his picture of the "Three Graces"--two of which are copied from the mutilated Greek group, one of the best specimens of the antique then known. This group was brought from Rome by the Cardinal, to place in his costly Library. Vasari speaks of the _Cardinal_ (not the Pope) as having brought it to the not quite finished Library, which would put the transit before September 1503. In the summer of 1502 the Cardinal made his last journey from Rome, and it was very likely then that he brought it back. An elaborate pencil sketch of it exists: opinions are divided as to which of the painters this was the work of, but Raphael's own picture is guarantee that he must have seen and been struck by the original. It has been argued that it is not absolutely necessary that the author of the drawings should have been in Siena, but their adaptability and suitability to the walls makes this most unlikely. Four drawings for the Library exist--one each in Florence and Perugia, one at Milan, and one at Chatsworth. They are drawn with Indian ink, and the two first touched with bistre and heightened with white. The first, which deals with the "Journey to the Council of Basel," has a long inscription at the top. The handwriting of this, if compared with Raphael's letter to Domenico Alfani, or that to his uncle Simone Ciarla, is no doubt Raphael's own, and the same hand has made notes in other parts of the drawing. It is possible, but not very probable, that the assistant should have annotated the master's design; but the connection between the inscription and the drawing, the various small changes made and accounted for as it progresses, make us almost certain that the designer of this cartoon was also the writer of the notes upon it. As each drawing has been transferred to the wall and worked out, we see gradual alterations, evidently made to add importance to the hero of the series. In the sketch Æneas wears a tight doublet and close cap. He looks, what he was, a young man going forth to seek his fortune. In the fresco he is dressed in a mantle and broad hat, to make the future Pope more imposing. The letter which he carried to Capranica has been placed in his hand. The storm from which Æneas escaped has been merely indicated in the drawing. In the fresco, lowering clouds and a rainbow are added. A dog, the greyhound of which Pintoricchio was so fond, has been introduced, standing perfectly still though in the leash of a galloping rider. [Illustration: _Private photo_] [_Gallery, Venice_ STUDY FOR FRESCO I. (By Raphael)]