In the second composition, one of the series of the life of Christ, in the Loggie of the Vatican, Raphael has placed the apostles round a table, four on each of the three sides; our Saviour presiding in the centre. John and Peter, who are, as usual, nearest to Christ, look to him with an animated appealing expression. Judas is in front, looking away from the rest, and as if about to rise. The other heads are not well discriminated, nor is the moment well expressed: there is, indeed, something confused and inharmonious, unlike Raphael, in the whole composition. I pass it over, therefore, without further remark, to come to the third example—a masterpiece of his later years, worthy as a composition of being compared with Leonardo’s; but, never having been painted, we can only pronounce it perfect as far as it goes. The original drawing enriches the collection of the Queen of England: the admirable engraving of Marc Antonio, said to have been touched by Raphael, is before me while I write. From the disposition of the unshod feet as seen under the table, it is styled by collectors ‘_il pezzo dei piedi_:’ from the arrangement of the table and figures it was probably designed for a refectory. In the centre is Christ, with both hands resting on the table; in the head, a melancholy resignation. Peter is on the right, his hand on his breast. John, on the left, places both hands on his breast, with a most animated expression,—‘You cannot believe it is I?’ Andrew has laid his hand on the shoulder of Peter, and leans forward with a sad interrogative expression. The head of Judas has features akin to those of the antique satyr, with the look askance of a detected villain: he has heard the words, but he dares not meet the eye, of his Divine Master: he has no purse. James Minor, next to John, with his hands extended, seems to speak sadly to Philip: ‘And they began to inquire among themselves, which of them should do this thing?’ The whole composition is less dramatic, has less variety of action and attitude, than that of Leonardo, but is full of deep melancholy feeling. * * * * *