fine distribution of masses; the general arrangement; the symmetry of
groups which balance each other; the harmony of line and color. Then
study individual figures for form, attitude, and expression. I think you
will wish to give several mornings to this one room.

"What do you think of this, Malcom? Do you not wish to get acquainted
with Plato, Aristotle, Cicero, and Virgil?" added Mr. Sumner, putting
his hand suddenly on the young man's shoulder, and looking into his face
to surprise his thought.

"I think it is fine, Uncle Rob. It's all right;" and Malcom's steady
blue eyes emphasized his satisfaction.

"What do you call Raphael's greatest picture?" asked Barbara, as they
turned from the frescoed walls.

"These are his most important frescoes," replied Mr. Sumner; "and all
critics agree that his most famous easel picture is the _Madonna di San
Sisto_ in the Dresden Gallery. This is so very familiar to you that it
needs no explanation. It was, you know, his last Madonna, and it
contains a hint of Divinity in both mother and child never attained by
any painter before or since."

"When shall we see Raphael's tapestries?" asked Margery, as they finally
passed on through halls and corridors.

"I hardly think I will go with you to see those, Madge dear," answered
her uncle. "There is no further need that I explain any of Raphael's
work to you. Your books and your own critical tastes, which are pretty
well formed by this time, will be quite sufficient. Indeed," looking