says Vasari, was painted by the master who left the portrait to be completed by his famous pupil. 1499, the charming little Holy Family, was probably executed by a pupil. 1508, two unknown portraits, has small claim to be classed as a Raphael. The exquisite little panels, 1502 and 1503, of St. Michael and St. George, are, however, precious and genuine works painted in 1504 at Urbino. They symbolise the overthrow of the hated tyrant Caesar Borgia, and the return of the exiled Duke Guidobaldo to his loving subjects. On the R. wall of Section D. are hung some works by the Italian Naturalists (a seceding school from the Eclectics), to whose chief representative Caravaggio (called the anti-Christ of painting), is due 1121, Death of the Virgin. This realistic representation of a sacred subject so shocked the pious at Rome that it was removed from the church for which it was painted. 1124, Portrait of Alof, Grand Master of the Knights of Malta, brought the artist a chain of gold, two Turkish prisoners and a knighthood. Salvator Rosa's Landscape, 1480; and a characteristic and much-appreciated Battle Scene, 1479, hang on this wall. [Footnote 206: Mr. H. Cook has, however, given reasons for post-dating Titian's birth from 1477 to 1489-90, in spite of the master's twice repeated assertion of his great age in letters to Charles V. See _Nineteenth Century_ Magazine, 1902, p. 156.] [Footnote 207: It is, however, accepted by Eugene Muentz as a genuine Raphael, executed at Florence about 1507.]