Domenico; a Crucifixion, with two attendant angels; the one receives in a cup the sacred blood which flows from the right hand, the other, in two cups, collects that of the left hand and the side; the weeping mother and disciples contribute their aid, while the Magdalen and an aged saint kneeling in silence contemplate the solemn mystery; above is the Deity. These figures might all pass for those of Pietro, except the Virgin, the beauty of which he never equalled, unless perhaps in the latter part of his life. Another specimen of this period is noticed by the Abate Morcelli, (de Stylo Inscript. Latin, p. 476). He states, that in the possession of Sig. Annibale Maggiori, a nobleman of Fermo, he saw the picture of a Madonna, raising with both hands a veil of delicate texture from the holy Infant, as he lies in a cradle asleep. Nigh at hand is S. Joseph, whose eyes rest in contemplation on the happy scene, and on his staff the same writer detected an inscription in extremely minute characters, R. S. V. A. A. XVII. P. _Raphael Sanctius Urbinas an. ætatis 17 pinxit_. This must have been the first attempt of the design which he perfected at a more mature age, and which is in the Treasury of Loreto, where the holy Infant is represented, not in the act of sleeping, but gracefully stretching out his hand to the Virgin: of the same epoch I judge the _tondini_ to be, which I shall describe in the course of a few pages, when I refer to the Madonna della Seggiola. Vasari informs us, that before executing these two pictures, he had already painted in Perugia an Assumption in the church of the Conventuals, with three subjects from the life of Christ in the grado; which may however be doubted, as it is a more perfect work. This picture possesses all the best parts of the style of Vannucci; but the varied expressions which the apostles discover on finding the sepulchre void, are beyond the reach of that artist's powers. Raffaello still further excelled his master, as Vasari observes, in the third picture painted for Città di Castello. This is the marriage of the Virgin, in the church of S. Francesco. The composition very much resembles that which he adopted in a picture of the same subject in Perugia; but there is sufficient of modern art in it to indicate the commencement of a new style. The two espoused have a degree of beauty which Raffaello scarcely surpassed in his mature age, in any other countenances. The Virgin particularly is a model of celestial beauty. A youthful band festively adorned accompany her to her espousals; splendour vies with elegance; the attitudes are engaging, the veils variously arranged, and there is a mixture of ancient and modern drapery, which at so early a period cannot be considered as a fault. In the midst of these accompaniments the principal figure triumphantly appears, not ornamented by the hand of art, but distinguished by her native nobility, beauty, modesty, and grace.