that are beautiful, for in the
women and children that are in it, there may be seen a marvellous
vivacity and perfect colouring. And this work caused him to be
greatly esteemed both in his lifetime and after his death, being the
rarest and most excellent that Raffaello executed in all his life.

Next, spurred by the entreaties of a Chamberlain of Pope Julius, he
painted the panel for the high-altar of the Araceli, wherein he made
a Madonna in the sky, with a most beautiful landscape, a S. John, a
S. Francis, and a S. Jerome represented as a Cardinal; in which
Madonna may be seen a humility and a modesty truly worthy of the
Mother of Christ; and besides the beautiful gesture of the Child as
He plays with His Mother's hand, there is revealed in S. John that
penitential air which fasting generally gives, while his head
displays the sincerity of soul and frank assurance appropriate to
those who live away from the world and despise it, and, in their
dealings with mankind, make war on falsehood and speak out the
truth. In like manner, the S. Jerome has his head uplifted with his
eyes on the Madonna, deep in contemplation; and in them seem to be
suggested all the learning and knowledge that he showed in his
writings, while with both his hands he is presenting the
Chamberlain, in the act of recommending him to her; which portrait
of the Chamberlain is as lifelike as any ever painted. Nor did
Raffaello fail to do as well in the figure of S. Francis, who,
kneeling on the ground, with one arm outstretched, and with his head
upraised, is gazing up at the Madonna, glowing with a love in tone
with the feeling of the picture, which, both by the lineaments and
by the colouring, shows him melting with affection, and taking
comfort and life from the gracious sight of her beauty and of the
vivacity and beauty of her Son. In the middle of the panel, below
the Madonna, Raffaello made a little boy standing, who is raising
his head towards her and holding an inscription: than whom none
better or more graceful could be painted, what with the beauty of
his features and the proportionate loveliness of his person. And in
addition there is a landscape, which is singularly beautiful in its
absolute perfection.

[Illustration: THE MASS OF BOLSENA

(_After the fresco by =Raffaello da Urbino=. Rome: The Vatican_)

_Anderson_]

Afterwards, going on with the apartments of the Palace, he painted a
scene of the Miracle of the Sacramental Corporal