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this neighbourhood. You will find it by going
straight down the street where Dupré's Studio is
near a fountain, over which enclosed by glass is
a fine Luca della Robbia, and enquiring for the
fresco di Raffaello. This fresco, though long known
to artists, was so covered by dirt and dust as to be
almost invisible, when Zotti and Della Porta struck
with the beauty of parts that had escaped the rava¬
ges of time, set about cleaning the painting, and
reduced it to its present state. The local which
contained it, was used as a repository for carriages,
and purchased by its late proprietor for 3000 dol¬
lars, who has lately sold the painting alone to go¬
vernment for 12,000 scudi. This fresco, visible from
10 to 3,.has been the theme of discussion amongst
artists and connoisseurs ever since its restoration.
At first sight it certainly reminds one very strongly
of Pietro Perugino, but on a closer examination, the
heads and extremities have a power of expression
and beauty of outline, that seem only to belong to
the Urbinate. It is however incredible that Vasari,
who was such an admirer of Raphael, should have
never noticed a work of this importance, which could
not have been executed in a few days, and which
could hardly have been kept a secret by the
nuns, and for what reason? A well known artist
here, on being asked his opinion, as to whether
it were by Raphael or not, very drily answered:
Mi pare di Raffaello; poi non gliel’ ho visto fa-