beloved disciple, struggles with the exertion of strength necessitated by the act on which he is employed; the resolution to perform the rites due to the dead, is mingled with yearning veneration for the corpse of him whom he passionately adored. These pictures are the triumph of Christian art. Then recollect the frescos of the history of Psyche in the Farnesina, and the youthful and nymph-like loveliness of the Galatea—these are specimens of his last style—and form your own opinion as to his improvement or otherwise. Whichever way you incline, there is one conclusion to which you must necessarily come, that Raffaelle in both styles, the Christian and the Pagan, is superior to every other painter—“high actions and high passions best describing.”
Day after day, often accompanied by our accomplished friend, whose taste and knowledge are invaluable, we visit the galleries of Rome. In one small chamber of the Barberini palace are three gems of art; and in these, expression appeared triumphant over skill, to the disadvantage of Raffaelle. A portrait of the Fornarina is contrasted with that of Beatrice Cenci, by Guido. In vain I was told to compare the exquisite finish, the faultless painting of cheek and lip, of the disagreeable-looking beauty, with the comparatively imperfect touches of Guido’s
