between cheerfulness and dignity,-between innocent playfulness and a deep penetration of the spirit of his subject. They are conceived with a graceful freedom, so delicately controlled, that it appears always guided by the finest feeling for the laws of art. They place before us those dearest relations of life which form the foundation of morality, the closest ties of family love; yet they seem to breathe a feeling still higher and holier. Mary is not only the affectionate mother; she appears, at the same time, with an expression of almost virgin timidity, and yet as the blessed one of whom the Lord was born. The infant Christ is not only the cheerful, innocent child, but a prophetic seriousness rests on his features, which tells of his future sacred destiny. In the numerous representations of these subjects, varying in the number, attitude, and grouping of the figures, there prevails sometimes a more simply natural, sometimes a more profound conception: they thus offer many interesting points of comparison. They are not all, however, from Raphael's own hand; many, though painted from his designs and in his studio, have only been retouched and completed by himself: many also which bear his name are but the works of his scholars, who endeavoured to seize and appropriate some portion of the master-spirit.

Among these works we may particularly distinguish those of the earlier part of Raphael's residence in Rome. These, as might be expected from his more severe employments, are simple compositions, of not very considerable size. The execution, however, shows that they are done quite con amore, and they more or less retain the traces of that deep earnestness which, we have observed, characterized his youthful works. The following are especially deserving of mention.

The Aldobrandini Madonna (27), now in the possession of Lord Garvagh.-The Madonna, sitting on a bench, bends tenderly towards the little St. John, her left arm round him; he reaches up playfully for a flower, gracefully offered to him by the infant Christ, who sits on his mother's lap. Behind the Madonna is the pilaster of an arcade, and on each side a view into the landscape beyond: the whole forms a composition of the greatest beauty and sweetness. The picture is in

good preservation. An old repetition of the same subject is at Signor Camuccini's in Rome.'

The Madonna of the Duke of Alba (26), formerly in the possession of Mr. Coesvelt, in London, now in the Hermitage at St. Petersburg.-The Madonna, a full-length figure, is seated in a quiet landscape-scene; the Child on her lap; she holds a book in her hand, which she has been just reading; the little St. John kneels before his divine companion with infantine grace and offers him a cross, which he receives with looks of unutterable love: the Madonna's eyes are directed to the prophetic play of the children with a deep, earnest expression. It is a beautiful picture, executed in the best and most delicate style by the master's own hand, and very well preserved.

La Vierge au Diadême (28), also called La Vierge au Linge, in the Louvre.-The Madonna is seated in a kneeling position, lifting the veil from the sleeping Child, in order to show it to the little St. John, who is kneeling in joyful adoration. In the background a rich landscape. The execu tion decidedly does not belong entirely to Raphael. The picture also, like so many in the Louvre, has been much injured. Similar compositions, with a more or less free imitation of this moment, are frequent."

The Madonna and Child (31), in the possession of Mr. Rogers in London (from the Orleans gallery).-The Madonna, a half-length figure, youthful and noble, is seen behind a balustrade or low wall, on which stands the Child, who, smiling, nestles close to her, holding her round the neck. The picture has now lost its surface, and is interesting in a technical point of view, on account of the bright reddish undertint which is apparent. The Madonna (half-figure) and Child (30), in the possession of Lord Ellesmere, and forming part of the Bridgewater gallery at London (from the Orleans gallery, and not in a good state).—The Child is stretched on her lap; she

[The picture here alluded to contains but two figures, and is quite different in composition: see p. 341.-ED.]

2 Representations of this kind, with the Child sleeping, are generally called Silentium,' Vierge au Silence,' &c. (18).

39. Small Holy Family, Louvre, L. 107, P. 375, p. 377. 45. Madonna among Ruins, L. 425, P. 401.