Chap. XV. FKANCIA BIGIO. 507 an additional ground for the supposition of Raphael’s au thorship. But the execution is not less decisive against Sanzio at Stanstead House than at the Louvre, and the Leonardesque system as derived from the companion of Fra Bartolommeo, or even from the contemplation of the Frate’s own creations is so clear that, independently of Francia Bigio’s sign-manual, no doubt can be allowed to exist as to his right to this piece. So perfect indeed is the coincidence between the technical habits of Della Porta and those of Francia Bigio here, that years have caused their works to undergo exactly similar changes. We have seen the flesh-tints of the Frate gain a strong low tinge and dark shadows that rob the surface of its original transparence and softness. This is what time has done for Francia Bigio in this instance, without however depriving him of any essential -charm. The undulating landscape behind the figure is of the pleasing nature ob servable in all those of Fra Bartolommeo and Raphael; the slopes neatly cut up by paths, dotted with trees and houses, and the vale parted by a stream flowing gently through meadows and crossed by a bridge. Every detail is touched with taste and accuracy. The person at the opening seems disinclined to enjoy these beauties. His ago may be from twenty-five to thirty. The dark cap that casts its shadow on his forehead covers long locks of brown hair, and his dress, with ample sleeves, is adorned with an order of knighthood. His regular features and penetrant eyes are slightly contracted by melancholy thoughts, and he gazes at the spectator as he abstractedly holds a letter in both hands; repeating inwardly perhaps the motto written on the parapet: “Tar ublia. chi. bien aima”. Of the note itself the words are illegible. A date 1514 (?1516) is on it; but no clue to the identity of the person to whom it is addressed. 2 1 This portrait, wood, oil, large as life, belonged in 1860 to Mr. Seymour Fitzgerald in London, andhasbeensupposed, probably on insufficient grounds, to be that of Giulio the natural son of Giuliano de’ Medici. It is clear that, after the drawing of this piece had been done, the flesh parts were rubbed in with a warm local colour so as