e 'Lame Man at the Beautiful Gate of the Temple,'
some authorities have found fault with Raphael for breaking the
composition into parts by the introduction of pillars, and, farther,
that the shafts are not straight. Yet by this treatment Raphael has
concentrated the principal action in a sort of frame, and thus has been
enabled to give more freedom of action to the remaining figures in the
other divisions of the picture. 'It is evident, moreover, that had the
shafts been perfectly straight, according to the severest law of good
taste in architecture, the effect would have been extremely disagreeable
to the eye; by their winding form they harmonize with the manifold forms
of the moving figures around, and they illustrate, by their elaborate
elegance, the Scripture phrase, "the gate which is called
Beautiful."'--_Mrs Jameson_.

Of Raphael's portraits I must mention that wonderful portrait of Leo X.,
often reckoned the best portrait in the world for truth of likeness and
excellence of painting, and those of the so-called 'Fornarina,' or
'baker'. Two Fornarinas are at Rome and one at Florence. There is a
story that the original of the first two pictures was a girl of the
people to whom Raphael was attached; and there is this to be said for
the tradition, that there is an acknowledged coarseness in the very
beauty of the half-draped Fornarina of the Barberini Palace. The
'Fornarina' of Florence is the portrait of a noble woman, holding the
fur-trimming of her mantle with her right hand, and it is said that the
picture can hardly represent the same individual as that twice
represented in Rome. According to one guess the last 'Fornarina' is
Vittoria Colonna, the Marchesa de Pescara, painted by Seba Piombo,
instead of by Raphael; and according to another, the Roman 'Fornarina'
is no Fornarina beloved by Raphael, but Beatrice Pio, a celebrated
improvisatrice of the time.

An 'innovation of modern times is to spell Raphael's name in England as
the modern Italians spelt it, _Raffaelle_, a word of four syllables, and
yet to pronounce this Italian word as if it were English, as _Raphael_.
Vasari wrote Raffaello; he himself wrote Raphael on his pictures, and
has signed the only autograph letter we have of his, Raphaello.'[15]

Titian, or Tiziano Vecelli, the greatest painter of the Venetian
School, reckoned worthy to be named with Lionardo, Michael Angelo and
Raphael, was born of good family at Capo del Cadore in the Venetian
Sta