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and the best models of art, or as Reynolds terms it, "the accumulated genius of ages."

RAFFAELLE SANZIO DI URBINO.

By the general approbation of mankind, this illustrious artist has been styled "the prince of modern painters." He is universally acknowledged to have possessed a greater combination of the excellencies of art than has fallen to the lot of any other individual. It is a remarkable fact, mentioned by many artists and writers, that the most capital frescoes of Raffaelle in the Vatican, do not at first strike the beholder with surprise, nor satisfy his expectations; but as he begins to study them, he constantly discovers new beauties, and his admiration continues to increase with contemplation.

RAFFAELLE'S AMBITION.

Raffaelle was inspired by the most unbounded ambition; the efforts of Michael Angelo to supplant him only stimulated him to greater exertions; and, on his death-bed, he thanked God he was born in the days of Buonarotti. He was instructed in the principles of architecture for six years by Bramante, that on his death he might succeed him in superintending the erection of St. Peter's. He lived among the ancient sculptures, and derived from them not only the contours, drapery, and atti tudes, but the spirit and principles of the art. Not content with what he saw at Rome, he employed

able artists to copy the remains of antiquity at Pozzuolo, throughout all Italy, and even in Greece. It is also probable that he derived much assistance from living artists, whom he consulted in regard to his compositions. The universal esteem which he enjoyed, his attractive person, and his engaging manners, which all authors unite in describing as incomparable, conciliated the favor of the most eminent men of letters, as Bembo, Castiglione, Giovio, Navagero, Ariosto, Fulvio, Calcagnini, etc., who set a high value on his friendship, and were doubtless ready to supply him with many valuable hints and ideas.

RAFFAELLE AND MICHAEL ANGELO.

"Michael Angelo, his rival," says Lanzi, “contributed not a little to the success of Raffaelle. As the contest between Zeuxis and Parrhasius was beneficial to both, so the rivalship of Buonarotti and Sanzio aided the fame of Michael Angelo, and produced the paintings in the Sistine chapel; and at the same time contributed to the celebrity of Raffaelle, by producing the pictures in the Vatican, and not a few others. Michael Angelo, disdaining any secondary honors, came to the combat, as it were, attended by his shield-bearer, for he made drawings in his grand style, and then gave them to Fra Sebastiano del Piombo, the scholar of Giorgione, to execute; and, by this means, he hoped that Raffaelle would never be able to rival his productions, either

in design or color. Raffaelle stood alone, but aimed at producing works with a degree of perfection beyond the united efforts of Michael Angelo and F. Sebastiano, combining in himself a fertile imagination, ideal beauty founded on a correct imitation of the Greek style, grace, ease, amenity, and a universality of genius in every department of art. The noble determination of triumphing in such a powerful contest animated him night and day, and allowed him no respite. It also animated him to surpass both his rivals and himself in every new work."

RAFFAELLE'S TRANSFIGURATION.

"This great artist" (Michael Angelo), says Va sari, "had felt some uneasiness at the growing fame of Raffaelle, and he gladly availed himself of the powers of Sebastiano del Piombo, as a colorist, in the hope that, assisted by his designs, he might be enabled to enter the lists successfully with his illustrious antagonist, if not to drive him from the field. With this view, he furnished him with the designs for the Pietà in the church of the Conventuali at Viterbo, and the Transfiguration and Flagellation, in S. Pietro in Montorio, at Rome, which, as he was very tedious in the process, occupied him six years." It was at this juncture that the Cardinal de Medici commissioned Raffaelle to paint a picture of the Transfiguration, and in order to stimulate the rivalry, he engaged Sebastiano to paint one of the Resurrection of Lazarus, of precisely the same dimensions,

for his Cathedral of Narbonne. That Sebastiano might enter the lists with some chance of success, he was again assisted by Buonarotti, who composed and designed the picture. On this occasion, Raffaelle exerted his utmost powers, triumphed over both his competitors, and produced that immortal picture which has received the most unqualified approbation of mankind as the finest picture in the world. Both pictures were publicly exhibited in competition, and the palm of victory was adjudged to Raffaelle-the Transfiguration was pronounced inimitable in composition, in design, in expression, and in grace. This sublime composition represents the mystery of Christ's Transfiguration on Mount Tabor. At the foot of the Mount is assembled a multitude, among whom are the Disciples of our Lord, endeavoring in vain to relieve a youth from the dominion of an evil spirit. The various emotions of human doubt, anxiety, and pity, exhibited in the different figures, present one of the most pathetic incidents ever conceived; yet this part of the composition does not fix the attention so much as the principal figure on the summit of the mountain. There Christ appears elevated in the air, surrounded with a celestial radiance, between Moses and Elias, while the three favored Apostles are kneeling in devout astonishment on the ground. The head and attitude of the Saviour are distinguished by a divine majesty and sublimity, that is indescribable.

DEATH OF RAFFAELLE.

With his incomparable work of the Transfiguration, ceased the life and the labors of Raffaelle; he did not live to entirely complete it, and the few remaining parts were finished by his scholar, Giulio Romano. While engaged upon it, he was seized with a fever, of which he died on his birth-day, Good Friday, April 7th, 1520, aged 37 years. His body lay in state in the chamber where he had been accustomed to paint, and near the bier was placed the noble picture of the Transfiguration. The throngs who came to pay their respects to the illus trious artist were deeply affected; there was not an artist in Rome but was moved to tears by the sight, and his death was deplored throughout Italy as a national calamity. The funeral ceremony was performed with great pomp and solemnity, and his remains were interred in the church of the Rotunda, otherwise called the Pantheon. The Cardinal Bembo, at the desire of the Pope, wrote the epitaph which is now inscribed on his tomb.

CHARACTER OF RAFFAELLE.

All cotemporary writers unite in describing Raffaelle as amiable, modest, kind, and obliging; equally respected and beloved by the high and the low. His beauty of person and noble countenance inspired confidence, and strongly prepossessed the beholder in his favor at first sight. Respectful to the memo. ry of Perugino, and grateful for the instructions he

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