The parts, in the process of every man's work, are always marked with more or less felicity; and great as the beauties of those which I distinguished are, they would not be beauties in my eye, if obtained by a principle discordant from the rest. The object of my admiration in M. Agnolo's colour is the tone, that comprehensive union of tint and hue spread over the whole, which seems less the effect of successive labour than a sudden and instantaneous exhalation, one principle of light, local colour, demi-tint and shade. Even the colours of the draperies, though perhaps too distinct, and often gayer than the gravity of their wearers or the subject allowed, are absorbed by the general tone, and appear so only on repeated inspection or separation from the rest. Raffaello did not come to his great work with the finished system, the absolute power over the materials, and the conscious authority of M. Agnolo. Though the august plan which his mind had conceived, admitted of lyric and allegoric ornament, it was, upon the whole, a drama and characteristic: he could not therefore apply to its mass the generic colour of the Sistina. Hence we see him struggling at the onset between the elements of that tone which the delineation of subdivided character and passions demanded, and the long imbibed habits and shackles of his master. But one great picture decided the struggle. This is evident from the difference of the upper and lower part of the Dispute on the Sacrament. The upper is the summit of Pietro Perugino's style, dignified and enlarged; the lower is his own. Every feature, limb, motion, the draperies, the lights and shades of the lower part, are toned and varied by character. The florid bloom of youth tinged with the glow of eagerness and impatience to be admitted; the sterner and more vigorous tint of long initiated and authoritative manhood; the inflamed suffusion of disputative zeal; the sickly hue of cloistered meditation; the brown and sun-tinged hermit, and the pale decrepit elder, contrast each other; but contrasted as they are, their whole action and colour remain subordinate to the general hue diffused by the serene solemnity of the surrounding medium, which is itself tinctured by the effulgence from above. A sufficient balance of light and shade maintains the whole, though more attention be paid to individual discrimination than masses. In the economy of the detail we find the lights no longer so white, the local colour no longer so crude, the passages to the demi-tints not so much spotted with red, nor the demi-tints themselves of so green a cast as in the four Symbolic Pictures on golden grounds of the ceiling.