when
that school was under his direct superintendence, and when it was
enabled to imitate his finer characteristics in a remarkable degree.

In this class are the _Madonna dell'Impannata_, in the Pitti, which
takes its name from the oiled-paper window in the background. The large
picture of a _Holy Family_ in the Louvre, painted in 1518, for Francis
I., is peculiarly excellent. The whole has a character of cheerfulness
and joy: an easy and delicate play of graceful lines, which unite in an
intelligible and harmonious whole. Giulio Romano assisted in the
execution.

With regard to the large altar-pieces of his later period in which
several Saints are assembled round the Madonna, it is to be observed
that Raphael has contrived to place them in reciprocal relation to each
other, and to establish a connection between them; while the earlier
masters either ranged them next to one another in simple symmetrical
repose, or disposed them with a view to picturesque effect.

Of these the _Madonna di Foligno_, in the Vatican, is the earliest. In
the upper part of the picture is the Madonna with the Child, enthroned
on the clouds in a glory, surrounded by angels. Underneath, on one side,
kneels the donor, behind him stands S. Jerome. On the other side is S.
Francis, kneeling, while he points with one hand out of the picture to
the people, for whom he entreats the protection of the Mother of Grace;
behind him is S. John the Baptist, who points to the Madonna, while he
looks at the spectator as if inviting him to worship her.

The second, the _Madonna del Pesce_ has much more repose and grandeur as
whole, and unites the sublime and abstract character of sacred beings
with the individuality of nature in the happiest manner. It is now in
Madrid, but was originally painted for S. Domenico at Naples, about
1513. It represents the Madonna and Child on a throne; on one side is
S. Jerome; on the other the guardian angel with the young Tobias who
carries a fish (whence the name of the picture). The artist has imparted
a wonderfully poetic character to the subject. S. Jerome, kneeling on
the steps of the throne, has been reading from a book to the Virgin and
Child, and appears to have been interrupted by the entrance of Tobias
and the Angel. The infant Christ turns towards them, but at the same
time lays his hand on the open book, as if to mark the place. The Virgin
turns towards the Angel, who introduces Tobias; while the latter
dropping