Metaurense). From this inquiry, it appears, first, that the art of painting this ware had not arrived at perfection till twenty years after Raphael's death: and secondly, that about that time Guid' Ubaldo II. (della Rovere) collected engravings after Raphael, and even original designs by him, and had them copied in the Urbino manufactory. Battista Franco at one time superintended the execution, and one of the artists was called Raffaello del Colle; his name may perhaps occasionally be inscribed on the Urbino ware, but the initials O. F. (Orazio Fontana) are the most frequent.

The Transfiguration was the last oil picture of importance on which Raphael was employed; it was unfinished at his death, and was afterwards completed, together with various other works, by his scholars. The last and worst misstatement of Vasari cannot be passed over, for unfortunately, none of the biographer's mistakes have been oftener repeated than that which ascribes the death of this great man to the indulgence of his passion for the Fornarina. Cardinal Antonelli was in possession of an original document, first published by Cancellieri, which assigns a different, and a much more probable, cause for Raphael's death; it thus concludes,—“ Life in him (Raphael) seemed to inform a most fragile bodily structure, for he was all mind; and moreover, his physical forces were much impaired by the extraordinary exertions he had gone through, and which it is wonderful to think he could have made in so short a life. Being then in a very delicate state of health, he received orders one day while at the Farnesina to repair to the court; not to lose time, he ran all the way to the Vatican, and arrived there heated and breathless; there the sudden chill of the vast rooms, where he was obliged to stand long consulting on the alterations of St. Peter's, checked the perspiration, and he was presently seized with an indisposition. On his return home, he was attacked with a fever, which ended in his death." Raphael was born and died on Good Friday. Some of his biographers have hence, through an oversight, asserted that he lived exactly thirty-seven years. He was born March 28, 1483, and died April 6, 1520. He was buried in the Pantheon, now the church of Sta. Maria ad Martyres, in a niche or chapel which he had himself endowed. His remains have been lately found there.

Quatremère de Quincy's Histoire de la Vie et des Ouvrages de Rafael, etc. Paris, 1824,' has been improved and superseded by the notes to the Italian translation of Longhena, Milan, 1829. Pungileoni, the author of the Elogio Storico di Giovanni Santi, Urbino, 1822,' has been long employed in preparing a life of Raphael. The obser

vations of Rumohr, in the third volume of his 'Italienische Forschungen, Berlin, 1831,' are original and valuable. A few interesting facts will be found in Fea's Notizie intorno Raffaele Sanzio, Rome 1822.' The author, however, fails to prove the regularity of Leo's payments to Raphael, since the latest document concerning the frescoes in the Stanze has the date 1514.

The engraving is from a miniature after the portrait by Raphael himself, in his first manner, cut from the stucco of a wall at Urbino, which forms the chief attraction of the Camera di' ritratti at Florence. The head engraved by Morghen, and so generally known, represents the features of Bindo Altoviti, which do not even resemble in a single point those of Raphael. The notion arose solely from a passage in Vasari's Lives:- E a Bindo Altoviti fece il ritratto suo;' for Bindo Altoviti he did his portrait (not his own): these words were distorted by the Editor Bottari in a marginal note; but the error has been decisively exposed by Missirini and others, whose account is every where received in Italy. Nor does it appear that the Tuscans in general fell into the mistake, for the portrait now given, and not, as Bottari asserts, the Altoviti portrait, is engraved in the Museum Florentinum.

KNOX.

JOHN KNOX was born in East Lothian, in 1505, probably at the village of Gifford, but, according to some accounts, at the small town of Haddington, in the grammar-school of which he received the rudiments of his education. His parents were of humble rank, but sufficiently removed from want to support their son at the University of St. Andrew's, which Knox entered about the year 1524. He passed with credit through his academical course, and took orders at the age of twenty-five, if not sooner. In his theological reading, he was led by curiosity to examine the works of ancient authors quoted by the scholastic divines. These gave him new views of religion, and led him on to the perusal of the scriptures themselves. The change in his opinions appears to have commenced about 1535. It led him to recommend to others, as well as to practise, a more rational course of study than that prescribed by the ancient usage of the University. This innovation brought him under suspicion of being attached to the principles of the Reformation, which was making secret progress in Scotland: and, having ventured to censure the corruptions which prevailed in the Church, he found it expedient to quit St. Andrew's in 1542, and return to the south of Scotland, where he openly avowed his adherence to the Reformed doctrines.

Having cut himself off from the emoluments of the Established Church, Knox engaged as tutor in the family of Douglas of Langniddrie, a gentleman of East Lothian. As a man of known ability, and as a priest, he was especially obnoxious to the hierarchy; and it is said that Archbishop Beatoun sought his life by private assassination, as well as openly under colour of the law. At Easter, 1547, Knox, with many other Protestants, took refuge in the castle of St. Andrew's, which was seized and held, after the archbishop's murder, by the band