Raphael Sanzio d'Urbino was the pupil of Pietro Perugino, but
afterwards studied the works of Leonardo di Vinci and Michael Angelo.
He excelled every modern painter, and was thought to equal the
ancients; though he did not design naked figures with so much
knowledge as Michael Angelo, who was more eminently skilled in
anatomy; neither did he paint in so graceful a style as the Venetians;
but he had a much more happy manner of disposing and choosing his
subjects than any other artist who has lived since his time. His
admirable choice of attitudes, ornaments, draperies, and expression,
can surely never be equalled by the most successful _aspirant_ in the
fine arts. He has an undisputed title to the prince of painters; for,
notwithstanding his premature death, he produced the most enchanting
representations of the sublime and beautiful. A painter will ever
derive much benefit from the study of all Raphael's pictures;
especially from the Martyrdom of Saint Felicitas; the Transfiguration;
Joseph explaining Pharaoh's Dream; and the School of Athens. Among the
wonders of art with which the School of Athens abounds, we may select
that of four youths attending to a sage mathematician, who is
demonstrating some theorem. One of the boys is listening with profound
reverence to the reasoning of his master; another discovers a greater
quickness of apprehension; while the third is endeavouring to explain
it to the last, who stands with a gaping countenance, utterly unable
to comprehend the learned man's discourse. Expression, which was
Raphael's chief excellence, and in which no other master has well
succeeded, may be seen in the above picture to perfection. Besides his
grand historical works, he executed portraits in a good style; and was
also an admirable architect. In person, he was handsome, and
remarkably well made, his manners being polite and unaffected. He
never refused to impart to others what he knew himself; by which