And now to turn to another miracle of nature, Raphael. He has given us three compositions for the Last Supper. The fresco lately discovered in the refectory of Sant’ Onofrio, at Florence, is an early work painted in his twenty-third year (A.D. 1505). The authenticity of this picture has been vehemently disputed; for myself—as far as my opinion is worth anything—I never, after the first five minutes, had a doubt on the subject. As to its being the work of Neri de’ Bicci, I do not believe it possible; and as for the written documents brought forward to prove this, I turn from them ‘to the handwriting on the wall,’ and there I see, in characters of light, RAPHAEL—and _him_ only. It is, however, a youthful work, full of sentiment and grace, but deficient, it appears to me, in that depth and discrimination of character displayed in his later works. It is evident that he had studied Giotto’s fresco in the neighbouring Santa Croce. The arrangement is nearly the same. Christ is in the centre; his right hand is raised, and he is about to speak; the left hand is laid, with extreme tenderness in the attitude and expression, on the shoulder of John, who reclines upon him. To the right of Christ is St. Peter, the head of the usual character; next to him St. Andrew, with the flowing grey hair and long divided beard; St. James Minor, the head declined resembling Christ: he holds a cup. St. Philip is seen in profile with a white beard: (this is contrary to the received tradition, which makes him young; and I doubt the correctness of this appellation). St. James Major, at the extreme end of the table, looks out of the picture; Raphael has apparently represented himself in this apostle. On the left of Christ, after St. John, is St. Bartholomew; he holds a knife, and has the black beard and dark complexion usually given to him. Then Matthew, something like Peter, but milder and more refined. Thomas, young and handsome, pours wine into a cup; last, on the right, are Simon and Jude: Raphael has followed the tradition which supposes them young, and the kinsmen of our Saviour. Judas sits on a stool on the near side of the table, opposite to Christ, and while he dips his hand into the dish he looks round to the spectators; he has the Jewish features, red hair and beard, and a bad expression. All have glories; but the glory round the head of Judas is much smaller than the others.[242] * * * * *