studying it at that time, nor did he then long remain in Florence, for, as Vasari states, he was soon obliged to return to his native place, in consequence of the death of his parents.[31] In 1505 we find him in Perugia: and to this year belongs the chapel of S. Severo, and the Crucifixion, which was severed from the wall, and preserved by the Padri Camaldolensi. From these works, which are all in fresco, we may ascertain the style which he acquired in Florence; and I think we may assert, that it was not anatomical, no traces of it being visible in the body of the Redeemer, which was an opportunity well adapted for the exhibition of it. Nor was it the study of the beautiful, of which he had previously exhibited such delightful specimens; nor that of expression, as there were not to be found in Florence, heads more expressive and lovely than those he had painted. But after his visit to Florence, we find his colouring more delicate, and his grouping and the foreshortening of his figures improved; whether or not he owed it to the example of Da Vinci or Bonarruoti, or both together, or to some of the older masters. He afterwards repaired to Florence, but soon quitted it again, in order to paint in the church of S. Francis, in Perugia, a dead Christ entombed, the cartoon of which he had designed at Florence; and which picture was first placed in the church of S. Francis, was afterwards, in the pontificate of Paul V., transferred to Rome, and is now in the Borghese palace. After this he returned again to Florence, and remained there until his departure for Rome, at the end of the year 1508. In this interval, more particularly, he executed the works which are said to be in his second style, though it is a very delicate matter to attempt to point them out. Vasari assigns to this period the Holy Family in the Rinuccini gallery, and yet it bears the date of 1506. Of this second style is undoubtedly the picture of the Madonna and the infant Christ and S. John, in a beautiful landscape, with ruins in the distance, which is in the gallery of the Grand Duke, and others, some of which are to be found in foreign countries. His pictures of this period are composed in the more usual style of a Madonna, accompanied by saints, like the picture of the Pitti palace, formerly at Pescia, and that of S. Fiorenzo in Perugia, which passed into England. The attitudes, however, the air of the heads, and smaller features of composition, are beyond a common style. The dead Christ above mentioned, is in a more novel and superior style. Vasari calls it a most divine picture; the figures are not numerous; but each fulfils perfectly the part assigned to it; the subject is most affecting; the heads are remarkably beautiful, and the earliest of the kind in the restoration of art, while the expression of profound sorrow and extreme anguish does not divest them of their beauty. After finishing this work, Raphael was