With regard to the large altar-pieces of his later period in which several Saints are assembled round the Madonna, it is to be observed that Raphael has contrived to place them in reciprocal relation to each other, and to establish a connection between them; while the earlier masters either ranged them next to one another in simple symmetrical repose, or disposed them with a view to picturesque effect. Of these the _Madonna di Foligno_, in the Vatican, is the earliest. In the upper part of the picture is the Madonna with the Child, enthroned on the clouds in a glory, surrounded by angels. Underneath, on one side, kneels the donor, behind him stands S. Jerome. On the other side is S. Francis, kneeling, while he points with one hand out of the picture to the people, for whom he entreats the protection of the Mother of Grace; behind him is S. John the Baptist, who points to the Madonna, while he looks at the spectator as if inviting him to worship her. The second, the _Madonna del Pesce_ has much more repose and grandeur as whole, and unites the sublime and abstract character of sacred beings with the individuality of nature in the happiest manner. It is now in Madrid, but was originally painted for S. Domenico at Naples, about 1513. It represents the Madonna and Child on a throne; on one side is S. Jerome; on the other the guardian angel with the young Tobias who carries a fish (whence the name of the picture). The artist has imparted a wonderfully poetic character to the subject. S. Jerome, kneeling on the steps of the throne, has been reading from a book to the Virgin and Child, and appears to have been interrupted by the entrance of Tobias and the Angel. The infant Christ turns towards them, but at the same time lays his hand on the open book, as if to mark the place. The Virgin turns towards the Angel, who introduces Tobias; while the latter dropping on his knees, looks up meekly to the Divine Infant. S. Jerome looks over the book to the new-comers, as if ready to proceed with his occupation after the interruption. But the most important is the famous _Madonna di San Sisto_, at Dresden. Here the Madonna appears as the queen of the heavenly host, in a brilliant glory of countless angel-heads, standing on the clouds, with the eternal Son in her arms; S. Sixtus and S. Barbara kneel at the sides. Both of them seem to connect the picture with the real spectators. This is a rare example of a picture of Raphael's later time, executed entirely by his own hand. Two large altar pictures still claim our attention; they also belong to Raphael's later period. One is the _Christ Bearing the Cross_, in Madrid, known by the name of _Lo Spasimo di Sicilia_, from the convent of Santa Maria dello Spasimo at Palermo, for which it was painted. Here, as in the tapestries, we again find a finely conceived development of the event, and an excellent composition. The other is the _Transfiguration_, now in the Vatican, formerly in S. Pietro at Montorio.