this façade we may detect not only the design, but in many of the heads the colouring also of Raffaello. It appears probable therefore that he remained to complete the work, the last subject of which might perhaps be finished in the following year, 1504, in which he departed to Florence. We may here observe, that this work, which has maintained its colours so well that it almost appears of recent execution, confers great honour on a young artist of twenty years of age; as we do not find a composition of such magnitude, in the passage from ancient to modern art, conceived by any single painter. So that if Raffaello stood not entirely alone in this work, the best part of it must still be assigned to him, since Pinturicchio himself was improving at this time, and the works which he afterwards executed at Spello and Siena itself, incline more to the modern than any he had before done. This will justify us in concluding that Raffaello had already, at that early age, far outstripped his master; his contour being more full, his composition more rich and free, accompanied by an ornamental and grander style, and an ability unlimited, and capable of embracing every subject that was presented to him. The works which he saw in Florence did not lead him out of his own path, as, to mention one instance, afterwards happened to Franco, who, coming from Venice, applied himself to a style of design and a career entirely new. Raffaello had formed his own system, and only sought examples, to enlarge his ideas and facilitate his execution. He therefore studied the works of Masaccio, an elegant and expressive painter, whose Adam and Eve he afterwards adopted in the Vatican. He also became acquainted with Fra Bartolommeo, who, about this time, had returned to the exercise of his profession. To this artist he taught the principles of perspective, and acquired from him, in return, a better style of colouring. We have not any record to prove that he made himself known to Da Vinci; and the portrait of Raffaello, in the ducal gallery in Florence, which is said to be by Lionardo, is an unknown head. I would willingly, however, flatter myself, that a congeniality of mind and an affinity of genius, emulous in the pursuit of perfection, must have produced a knowledge of each other, if it did not conciliate a mutual attachment. No one certainly was more capable than Da Vinci, of communicating to Raffaello a degree of refinement and knowledge, which he could not have received from Pietro; and to introduce him into the more subtle views of art. As to Michelangiolo, his pictures were rare, and less analogous to the genius of Raffaello. His celebrated Cartoon was not yet finished, in 1504, and that great master was jealous of its being seen, before its entire completion. He finished it some few years afterwards, when he returned to Florence on his flight from Rome, occasioned by the anger of Julius II. Raffaello therefore could not have had the opportunity of