adiso," ten years later, but subsequent alterations
have left very little of the original work visible. Raffaello's stalls
were probably finished in 1521, that being the date on a panel which was
formerly in the centre of the choir. Of these splendid works only two
confessionals still remain in the church. At the time of the suppression
of the convents at the end of the 18th century the populace, drunk with
rapine and devastation, tore down these stalls, and they were sold for a
few pence to the Bolognese marine store dealers and rag merchants. Only
18 of the principal row were saved from destruction, the Marquis Antonio
Malvezzi buying them in 1812, and having them restored and placed in the
chapel of his family in S. Petronio (now the chapel of the Holy
Sacrament), where they now are. He was not able to save the hoods and
shell canopies, which were sold for firewood for 4 baiocchi each! (about
two pence.) The designs are of the usual style, cupboards and various
objects in perspective; one of the finest is the first on the left,
which includes a fine sphere and sundial, and several books written in
German letters, black and red, a chalice in a cupboard, two books, and a
cross. In the seventh is the figure of Pope Gregory in the act of
blessing, and the last on the right shows loggias and porticoes of good
style, well put in perspective. With part of the tarsie from S. Michele
pianoforte cases were made, other portions were used for the floor of
the Casino, near the theatre of the Corso, and were worn to pieces by
the feet of the dancers! In 1525 Fra Raffaello went to Rome, and no
further notices of him or of his work occur till his death there in
1537; he was buried in S. Maria in Campo Santo.

Another somewhat similar set of stalls, though rather later in date,
also at Bologna, are the upper row in the choir of S. Giovanni in Monte,
which have on their backs intarsie representing monuments, fantastic
battlemented buildings, musical instruments, and geometrical motives,
all executed with a mastery which reveals an artist old at the work.
They recall in their general effect those in S. Prospero at Reggio, in
the Emilia, which were executed by the brothers Mantelli in 1546. They
are set in a carved framing of arches divided by pilasters which
terminate above in brackets which support the cornice. The pilasters
rest on the arms which divide the seats. Champeaux says they were made
by Paolo del Sacha.

The tarsie in S. M