like it is to Domenichino's great picture
in the Vatican! Do you suppose Domenichino borrowed so much from his
master?"

"I fear so. Yet his picture is infinitely superior to this. And, look,
here is Domenichino's _Death of St. Peter, Martyr_, which was borrowed
largely from Titian's famous picture of the same subject, which has
unfortunately been destroyed."

"But don't you call that a species of plagiarism?" queried Malcom.

"Undoubtedly it is. I must confess I am always sorry for Domenichino
when I come into this hall. But we will pass on to better things. I wish
you to study particularly these pictures by Francia," said he, as they
entered a third hall.--"Yes, Betty, you are excusable. You all may look
first at Raphael's _St. Cecilia_, for here it is."

All gathered about the beautiful, famous picture.

"How much larger than I have ever thought!" said Margery. "For what was
it painted, uncle?"

"As an altar-piece for one of the oldest churches in Bologna. Do you
recollect the story about Raphael's writing to Francia to oversee its
proper and safe placing?"

"Oh, I do!" exclaimed Barbara, as Margery shook her head. "It was said
that Francia never painted again, so overcome was he by the surpassing
loveliness of Raphael's picture, and that he died from the effect of
this feeling,--but," she went on impetuously, "I do not believe it; for
see there!" pointing to Francia's _Madonna with Sts. John and Jerome_,
"do you think that the artist who painted this picture is so very far
behind even Raphael as to die of vexation at the difference between
them?"

Barbara was so carried away by the picture that she had forgotten
herself entirely, and spoke with her old-time frank eagerness, thereby
thoroughly delighting Bettina and Mr. Sumner.

"I am glad you feel so," said the latter, very quietly, and with a
strictly impersonal manner. "Francia, who belonged to the old Bolognese
masters of the sixteenth century, was one of the most devout of
painters, and everybody who studies his work must love it. See how pure
and sweet are his expressions! How simple his composition! What harmony
is in his coloring! How beyond those who painted after him!"

[Illustration: RAPHAEL. ACADEMY, BOLOGNA.

SAINT CECILIA.]

They tarried long before Francia's paintings and the _St. Cecilia_. Mr.
Sumner told them to note the more subtle _motif_ of Raphael's picture;
the superior grace of the figures, their careful distribution, and the
fi