On the first morning I spent in the gallery, a most benevolent-looking old gentleman came up to me, and half lifting his velvet cap from his grey hairs, courteously saluted me by name. I replied, without knowing at the moment to whom I spoke. It was Böttigar, the most formidable--no, not _formidable_--but the most erudite scholar, critic, antiquarian, in Germany. Böttigar, I do believe, has read every book that ever was written; knows every thing that ever was known; and is acquainted with every body, who is _any body_, in the four quarters of the world. He is not the author of any large work, but his writings, in a variety of form, on art, ancient and modern,--on literature, on the classics, on the stage, are known over all Germany; and in his best days few have exercised so wide an influence over opinion and literature. It is _said_, that in his latter years his criticism has been too vague, his praise too indiscriminate, to be trusted; but I know not why this should excite indignation, though it may produce mistrust; in Böttigar's conformation, benevolence must always have been prominent, and in the decline of his life--for he is now seventy-eight--this natural courtesy combining with a good deal of vanity and imagination, would necessarily produce the result of extreme mildness,--a disposition to see, or try to see, all _en beau_. The happier for him, and the pleasanter for others. We were standing together in the room with the Madonna, but I did not allude to it, nor attempt to express by a word the impression it had made on me; but he seemed to understand my silence; he afterwards told me that it is ascertained that Raffaelle employed only three months in executing this picture: it was thrown upon his canvas in a glow of inspiration, and is painted very lightly and thinly. When Palmeroli, the Italian restorer, was brought here at an expense of more than three thousand ducats, he ventured to clean and retouch the background and accessories, but dared not touch the figures of the Virgin and the Child, which retain their sombre tint. This has perhaps destroyed the harmony of the general effect, but if the man mistrusted himself he was right: in such a case, however, he had better have let the background alone. In taking down the picture for the purpose of cleaning, it was discovered that a part of the original canvas, about a quarter of a yard, was turned back in order to make it fit the frame. Every one must have observed, that in Müller's engraving, and all the known copies of this Madonna, the head is too near the top of the picture, so as to mar the just proportion. This is now amended: the veil, or curtain, which appears to have been just drawn aside to disclose the celestial vision, does not now reach the boundary of the picture, as heretofore; the original effect is restored, and it is infinitely better.