1125--arouses infinitely livelier feelings in the observer, so much movement and happiness has it.

Raphael is perfect but cold; Franciabigio is less perfect (although exceedingly accomplished) but warm with life.

The charm of this picture is as notable as the skill of Raphael's: it is wholly joyous, and the little Madonna really once lived.

Both are reproduced in this volume.
Raphael's neighbouring youthful "John the Baptist" is almost a Giorgione for richness, but is as truly Raphael as the Sebastian del Piombo, once (like the Franciabigio also) called a Raphael, is not.

How it came to be considered Raphael, except that there may be a faint likeness to the Fornarina, is a mystery.
The rooms next the Tribuna have for some time been under reconstruction, and of these I say little, nor of what pictures are to be placed there.