UIET and serenity, the peacefulness and calm joy which fills the worker's heart after a well-spent day of useful labor, echoing the calm and peace of nature at the evening hour, pervades every part of this agreeable landscape. If the heat and burden of the day was irksome, its long and toilsome hours are in large measure repaid by the simple delight of the walk back to the village. Work is ended, home is before the toiler, and each step along the old and oft-trodden pathway brings him nearer to the beloved spot.

Fortunate indeed is he whose homeward way leads him by such a grassgrown road by the brookside. The firm yet yielding sod, trodden a thousand times before, and made smooth by the footsteps of generations which have wandered homeward over it in the past, is grateful to tired feet. It invites to linger, and the way does not seem too long or weary. The ancient willows whose roots love the sweet waters of the brook, gnarled and shapeless from the centuries, are old and familiar friends, who greet him kindly with the same welcome which his ancestors have found in their rugged trunks and freshly springing shoots.

It is well that art can reproduce and bring back to those whose footsteps must fall on hard and relentless pavements or along dusty and inhospitable ways, these pleasing images of other paths, of lovely country roads, where it was a joy to wander in those other years that now seem so far away, and where to tread again, if fate be kind, will be a renewed delight.

Church of St. Paul Beyond the Walls, Rome, Interior

IRE destroyed in 1823 the venerable basilica of St. Paul

Without, which dated back to the days of Constantine for

its first structure. The present magnificent edifice was built on the lines and dimensions of the old church, utilizing

such of the old decorations and parts as could be restored.

It is a five-aisled basilica with a transept and a large tribune. Its length is about 400 feet, and its width is about 220 feet, of which the nave, as shown in the picture, is rather more than one third, or 80 feet.

Four great rows of Corinthian columns, of which we see here two, divide the aisles, and carry arcades. The nave rises in a clerestory above the aisles, so that the richly coffered horizontal ceiling is about 100 feet high above the pavement. Compared with the width and length of the nave, about 300 feet back to the triumphal arch, this height is not great, and the numerous columns help to give a sense of ample spaciousness. The rich ceiling, the long series of mosaic portraits of the Popes over the arcades, and the paintings between the windows of the clerestory above, unite to produce an effect of sumptuousness.

Looking through the triumphal arch, across the transept to the apse, or circular end of the church, we see the high altar under its ciborium or canopy, which is in turn surmounted by a still higher canopy called a baldacchino. This fine Gothic ciborium dates from 1285, and much of the arch is from the old church, especially the Ionic columns and the mosaics.

Madonna di San Antonio

Raphael Sanzio (rä'-fa-el-sän'-zē-ō), 1483–1520

VERY American friend of art was rejoiced when in 1902 this famous picture was added to the noble collections of Mr. Morgan, which gave assurance that later, America would be made the richer by a work of Raphael of whose exalted art, chiefly treasured in European galleries,

scarcely a single example has ever crossed the ocean.

During the earlier part of Raphael's Florentine period, 1504 to 1508, he was frequently back in Umbria, and in 1505 or 1506, he made for the nuns of San Antonio at Perugia an altarpiece, following by order, a favorite picture in a near-by convent. It had the usual upper and middle parts which are still together, and a predella, or base, in five sections, which are now scattered, two figures of saints in the Dulwich Gallery near London, and three scenes from the Passion in private hands. The main picture was sold in 1677 by the nuns for 2,000 scudi and came into the possession. of the Colonna family, and in 1802 was acquired by the King of Sicily and Naples.

After the exile of that house in 1861, the fortunes of the picture were varied. The Franco-Prussian War prevented its purchase in 1870 for the Louvre, but finally it fell in good hands.

It is a precious example of Raphael's early work. In the tympanum is the Almighty in the act of blessing; beneath, under a baldachin, sits the Virgin with the Infants, clothed by order of the nuns, and on either side stand Saints Dorothea and Catherine of Alexandria. The male saints are weaker and less like Raphael. On the right is St. Paul, on the left St. Peter.