The drawing at Perugia for the fresco of the "Meeting of Frederick III. and Eleanora of Portugal" has the words, "questa e la quinta della (storia) del Papa" (this is the fifth of the story of the Pope), written on it, in the same fine handwriting that we see on the "Journey to Basel." We see here the clear rules of composition learnt from Perugino--the middle point and radiation from it--with the figures placed in pairs, as in the "Giving of the Keys"--an arrangement which had great influence over Raphael's compositions, though it never took much hold of Pintoricchio. In the fresco, the lines of the radius are quite lost sight of; the spectators are brought in in the usual indistinct masses. It has been suggested that, as the spot on which the meeting took place is much more like in the fresco than in the drawing,--the column being evidently copied in the first and not in the last,--Raphael may have drawn the design away from Siena, and sent it marked with the inscription. [Illustration: _Alinari photo_] [_Library, Siena_ ÆNEAS PICCOLOMINI ON HIS WAY TO THE COUNCIL AT BASEL] Schmarsow sees a resemblance to Raphael's style in the sketch for the "Conference" (IV.)--in the lines of composition, and in the more graceful and life-like action of the Pope's head and some of the groups at the side;--the two fine figures in front in the fresco, which are unmistakably by Pintoricchio, do not exist in the drawing. The drawing at Milan, of fresco III., the "Poet Crowned," is now known to be a sketch from the finished fresco, and though it is under Raphael's name, is not worthy of notice. There are, however, at Oxford two studies of four pages, the style and technique of which point to Raphael. These appear in the fresco. They are the pike-bearer and standard-bearer, with legs apart, in the background of the company, and the page in front of them leaning on a stick. The _loggia_ in the background accords well with the style of Raphael's buildings. His taste for architectural backgrounds was quite as keen as that of Pintoricchio, and he had been in intimate relation with Bramante and with Luciano Lauranna, the architect, who was his kinsman, when he came to Perugia. Certain details in this remind us of the _loggia_ of the Castle of Urbino, with which, of course, Raphael was well acquainted. What is most unlike Pintoricchio, and very characteristic of Raphael, in this fresco, is the concentration of interest, the way in which the attention is insensibly attracted to the principal figure; the poetic moment is caught in a way which points to Raphael's quality of composition. Here and there are figures of a freshness and grace which speak to us of the freer hand of the youthful artist pressing forward and casting aside old methods. Such is the young prince in the second fresco, with plumed hat, who stands at the left of the King of Scotland.