We gather from all these changes that the drawing did not exactly satisfy the painter who worked on it after it was transferred to the wall. It is, however, in the spirit and bearing of the whole that we see the greatest difference. In the drawing the artist has shaken off the stiff Perugian manner, has got at nature, and has found new ways of handling. The riders are strong and elastic; the page to the right is supple and natural, but in the fresco is twisted round into an ungainly attitude. The cavalcade has a life and movement that we hardly expect to find in Pintoricchio. The horses, if anything, bear witness more remarkably than the men. Up to this time very few masters could draw horses with any success. Uccello and Donatello, Verrocchio and his pupil Leonardo, all Florentines, were almost the sole exceptions. To decide if Raphael could draw horses we have only to glance at such early works of his as the two little "St. Georges" in the Louvre. It was in 1502 that Raphael first came to Florence, just at the time that Leonardo's great cartoon of the battle of the standard was exposed to the public. We are told that Raphael spent much time in copying Leonardo. Indeed, among the so-called Venetian sketches is one, now called the "Battle of the Standard," which is unanimously ascribed to Raphael, and which is believed to be a sketch from Leonardo's cartoon. If we compare the horse in the drawing for the "Journey to Basel" with that horse, and if we further compare with both the horse in the sketch for the "St. George" (at St. Petersburg) we shall see numerous points of resemblance--in the broad head and tapering muzzle, the round, accentuated haunches, the shape of the foot, and the very curves of the flowing tail. The horses in the fresco look very wooden beside them, with their long, woolly tails. What we feel forcibly--what anyone must feel who is, not necessarily an artist, but a judge of a horse, is that the man who drew the sketch knew indisputably what were the points of a good horse, while if the painter of the fresco had known as much he could never have painted the horses on the wall. There is, moreover, another point, which I do not think has been noticed before. On looking again at Raphael's undoubted sketch of the "Battle for the Standard," we perceive that the splendid figure of the nude man who snatches at the horse's head has served for the model of the standard-bearer in the drawing of the "Journey to Basel"; every line is the same, the plant of the feet, the turn of the head, the uplifted arm. Now we know that if Raphael was in Siena, he came straight from Florence, while we have no indication that Pintoricchio was ever in Florence at all, and what would be more likely than that Raphael, full of his studies of Leonardo, should take the opportunity of bringing in the horses and men he had just been copying, and which we know to have made so deep an impression upon him?