at the boy and was impressed with his beauty. Perugino afterwards
acknowledged that the only reason he took him was because he thought
he would work in well as a model.

Perugino was the greatest master of technique of his time. He had
life, and life in abundance. He reveled in his work, and his
enthusiasm ran over, inundating all those who were near. Courage is
a matter of the red corpuscle. It is oxygen that makes every attack;
without oxygen in his blood to back him, a man attacks nothing--not
even a pie, much less a blank canvas. Perugino was a success; he had
orders ahead; he matched his talent against titles; power flowed his
way. Raphael's serious, sober manner and spiritual beauty appealed
to him. They became as father and son. The methodical business plan,
which is a prime aid to inspiration; the habit of laying out work
and completing it; the high estimate of self; the supreme animation
and belief in the divinity within--all these Raphael caught from
Perugino. Both men were egotists, as are all men who do things. They
had heard the voice--they had had a "call." The talent is the call,
and if a man fails to do his work in a masterly way, make sure he
has mistaken a lazy wish for a divine passion. There is a difference
between loving the muse and lusting after her.

Perugino had been called, and before Raphael had worked with him a
year, he was sure he had been called, too. The days in Perugia for
Raphael were full of quiet joy and growing power. He was in the
actual living world of men, and things, and useful work. Afternoons,
when the sun's shadows began to lengthen towards the east, Perugino
would often call to his helpers, especially Raphael, and
Pinturicchio, another fine spirit, and off they would go for a
tramp, each with a stout staff and the inevitable portfolio. Out