Among the Cartoons which we do not possess, and probably exist only in the tapestries of Rome and Madrid, and engravings copied from them, the Resurrection of Christ and his Ascension, equally mark Raphael's discriminative powers in their contrasted compositions. The Resurrection derives its interest from the convulsive rapidity, the Ascension from its calmness of motion. In that, the hero like a ball of fire shoots up from the bursting tomb and sinking cerements, and scatters astonishment and dismay. What apprehension dared not to suspect, what fancy could not dream of, no eye had ever beheld and no tongue ever uttered, blazes before us: the passions dart in rays resistless from the centre. Fear, terror, conviction, wrestle with dignity and courage in the centurion; convulse brutality, overwhelm violence, enervate resistance, absorb incredulity in the guard. The whole is tempestuous. The Ascension is the majestic last of many similar scenes: no longer with the rapidity of a conqueror, but with the calm serenity of triumphant power, the Hero is borne up in splendour, and gradually vanishes from those who by repeated visions had been taught to expect whatever was amazing. Silent and composed, with eyes more absorbed in adoration than wonder, they follow the glorious emanation; till addressed by the white-robed messengers of their departed king, they relapse to the feelings of men. We have considered hitherto the mental part of Raffaello's composition, let us say a word of the technic. His excellence in this is breadth of masses, and of positive light and shade.