The celebrated Cartoons were designs for tapestries, of which more than twenty of various sizes are preserved in the Vatican. The Cartoons, it may be inferred, were equally numerous, but seven only, now fit Hampton Court, remain entire. A portion of another was bequeathed by the late Prince Hoare to the Foundling Hospital, where it is now to be seen. These works owed their existence to the Pope’s love of magnificence rather than to a true taste for art; but although destined for a merely ornamental purpose, some of the designs are among the very finest of Raphael’s inventions, and a few may have been, at least in part, executed by his hand. The Ananias, the Charge to Peter, the Paul and Barnabas at Lystra, and the Paul preaching at Athens, are generally considered to have the greatest pretensions to this additional interest. The fine portrait of Leo with the Cardinals de’ Medici and de’ Rossi completes the list of larger works undertaken for the Pope, but the many designs by Raphael from classical or mythological subjects may be supposed to have been also made at the suggestion of the pontiff. In obedience to his wishes, Raphael undertook the inspection of the ancient Roman monuments, and superintended the improvements of St. Peter’s. Among the numerous and extensive works done for other employers may be mentioned the Sybils in the Chiesa della Pace, the frescoes from Apuleius’s story of Cupid and Psyche in the palace of Agostino Chigi, called the Farnesina, where the so-called Galatea was the beginning of another Cyclus from the same fable, the Madonna del Pesce, the Madonna di S. Sisto, and the Spasimo di Sicilia. Many a palace in the neighbourhood of Rome still exhibits remains of frescoes for which Raphael at least furnished the designs; and his own Casino, near the more modern Villa Borghese, may retain traces of his hand, but it is now fast falling to decay. A long list of portraits might be added to the above works, together with many interesting designs in architecture, and even some productions in sculpture. In reviewing the amazing number of works attributed to Raphael, it must not however be forgotten that many are his only in the invention, and some pictures that bear his name may have been even designed as well as finished by his imitators. The Flemish copies of Raphael are frequent, and are to be detected, among other indications, by their extreme smoothness; the contemporary imitations, especially those of the earlier style of the master, by Domenico Alfani and Vincenzo di S. Geminiano, are much less easily distinguished. The question respecting the Urbino earthenware may be considered to have been set at rest by Passeri (Storia delle pitture in Maiolica di Pesaro e di altri luoghi della Provincia Metaurense). From this inquiry, it appears, first, that the art of painting this ware had not arrived at perfection till twenty years after Raphael’s death: and secondly, that about that time Guid’ Ubaldo II. (della Rovere) collected