t his pupils assist him in many works, uncle?" asked Malcom, as
his uncle paused for a moment.

"Yes," replied Mr. Sumner, rising, "especially in the frescoes that we
shall see by and by. It would have been utterly impossible for him to
have executed all these with his own hand. Let us now go out into
this next gallery through which we entered, and look at the
_Transfiguration_."

So they went into the small room which is dedicated wholly to three
large pictures:--the _Transfiguration_ and _Madonna di Foligno_ by
Raphael, and the _Communion of St. Jerome_ by Domenichino.

"Raphael's last picture, which he left unfinished!" murmured Bettina,
and she took an almost reverential attitude before it.

"How very, very different from the _Coronation_!" exclaimed Barbara,
after some moments of earnest study. "That is so utterly simple, so
quiet! This is more than dramatic!"

"Raphael's whole lifetime of painting lies between the two," replied Mr.
Sumner, who had been intently watching her face as he stood beside her.

"Do you like this, Mr. Sumner? I do not think I do, really," said Miss
Sherman, as she dropped into a chair, her eyes denoting a veiled
displeasure, which was also apparent in the tones of her voice.

"It is a difficult picture to judge," replied Mr. Sumner, slowly. "I
wish you all could have studied many others before studying this one.
But, indeed, you are so familiar with Raphael's pictures that you need
only to recall them to mind. This was painted under peculiar
circumstances,--in competition, you remember, with Sebastian del
Piombo's _Resurrection of Lazarus_; and Sebastian was a pupil of Michael
Angelo. Some writers have affirmed that that master aided his pupil in
the drawing of the chief figures in his picture. Raphael tried harder
than he ever had done before to put some of the dramatic vigor and
action of Michael Angelo into the figures here in the lower part of the
_Transfiguration_. The result is that he overdid it. It is not
Raphaelesque; it is an unfortunate composite. The composition is fine;
the quiet glory of heaven in the upper part,--the turbulence of earth in
the lower, are well expressed; but the perfection of artistic effect is
wanting. It is full of beauties, yet it is not beautiful. It has many
defects, yet only a great master could have designed and painted it."

By and by they turned their attention to the _Madonna di Foligno_, and
were especially interested in it as being a votiv