sions, Michael took down the scaffolding almost before the frescos were finished. Crowds of the learned rushed to the building to see this wonderful work. But when the pope had gratified his impatience by viewing the painted ceiling from below, he began to wish for more ornaments on the drapery of some figures -more gilding and show. But Michael's reproof was not long wanting.

"I have painted," said he, " men who were poor, nor wished for riches-holy men, to whom gold was an object of contempt. I will add nothing."

The Sistine Chapel was publicly opened on All-Saints' Day 1512. From that time to the present, Michael-Angelo's frescos have been acknowledged the most glorious triumph of art in any age. They consist of a series of colossal paintings, descriptive of the progress of the Christian religion, from the creation of the world until the last judgment of all men. To particularise them is impossible; and their praise has been a universal theme. Most of them are painted on the arched ceiling; and it is said that many figures were executed by the artist lying on his back on a heap of cushions; this being the only position in which he could reach them..

Three months after the completion of the Sistine Chapel, Pope Julius died. Leo X., who succeeded him, was by no means a warm friend to Michael-Angelo. But his fame was now too well established to suffer from this lack of favour. He was now growing old; but his energy and talents were unwearied. Beside that of the Sistine, another chapel was erected called the Paoline. For this he painted two pictures-the "Conversion of St Paul," and the "Crucifixion of St Peter." At the age of seventy-two, he was nominated architect of St Peter's. This magnificent building, the grandest temple in Christendom, was the design and erection of Michael-Angelo. It was the work of many years and many struggles. The artist had to contend with the poverty and illiberality of his patrons; and once they endeavoured to displace him. He had, in their opinions, not given light enough to the church in one portion of it.

"Three more windows will be placed there!" said MichaelAngelo.

"You never told us of that before?" replied a cardinal. "Nor will I be accountable to you for declaring all that I do, or intend to do," cried the high-spirited painter. "It is yours to provide money, and keep off thieves: to build St Peter's is

mine!"

This independent speech won the favour of the then pope, Julius III. From this time he placed unlimited confidence and regard in the artist, often saying that should Michael-Angelo die before himself, his body should be embalmed, and kept in the palace, that his mortal form should endure as long as his works. But Julius died in 1555; and his successor, Paul IV., insulted the

painter by wishing to reform the "Last Judgment" in the Sistine. Michael sent this message in answer:-" If his holiness will undertake to reform mankind, I will engage that my picture shall reform itself."

This pope plunged Rome into war and bloodshed. MichaelAngelo, then eighty-two years of age, took refuge in a monastery until these perilous times were over. It was with regret that he left this quiet abode to enter again on the turmoil of the world. He lived until the age of eighty-nine, and then died peaceably and calmly, uttering his last will in these words:My soul I resign to God, my body to the earth, my worldly goods to my next of kin."

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Michael-Angelo's countenance was like his mind-full of noble grandeur. Straight Greek features, a high and rather projecting forehead, with clustering hair and beard, give his portrait a character of sublimity which is like his works. These works were the grandest in conception and execution that mortal man could do-not beautiful, but sublime. It is often a reproach to a great man that his life is far inferior to his works; but Michael-Angelo was in every way a noble and good man, not winning, but austere in his virtue and simplicity of character at an age when the contrary was most in fashion. He was never married, and used to say that his works were his children, who must bear his name to posterity. He lived in study and seclusion, never ceasing to seek after knowledge throughout his long life. In his old age, he was found one day by Cardinal Sarnite walking alone in the ruins of the Coliseum. The cardinal expressed surprise. "I go yet to school," said Michael," that I

may continue to learn."

This great artist's soul was full of high principle: he scorned everything mean and dishonourable. His disposition was generous, and many a kindness did he show to inferior artists, and others who needed it. Sometimes his gifts were munificent. To his old servant Urbino he gave two thousand crowns: a donation in those days considered worthy of a monarch. This man died when Michael was eighty-two, and his aged master remained with him day and night in his last illness, and afterwards wrote this of him:-"Urbino's death has been a heavy loss to me, yet also an impressive lesson of the grace of God; for it has shown me that he who in his lifetime comforted me in the enjoyment of life, dying, has taught me how to die, not with reluctance, but even with a desire for death."

His poems were numerous, and all breathe the spirit of purest Christianity. The sternness of his character won little affection from his contemporaries, yet none ever breathed a word against him. The fame of Michael-Angelo's works will live for ever, and with that his memory as a truly great and virtuous

man.

RAFFAELLE D'URBINO.

IN 1483 there lived in the little city of Urbino a poor artist named Giovanni Sanzio. He had little genius to boast of, and less fame. He lived in a quiet humble way, not far removed from poverty, yet he was a good man, and his humility and simplicity of character prevented his being despised for his want of talent. He married a worthy and loving wife, but they were long childless. At last, in 1483, the year already mentioned, on Good-Friday, there was born to this worthy couple a son. This new addition to their happiness was joyfully welcomed by the father and mother. They christened the infant Raffaelle, after the angel Raphael in the Bible-a name of good omen; but little did the joyful parents think how that the name thus given by them would go down to posterity with the glorious affix of Raffaelle the Divine.

The father, Giovanni, had suffered much in his youth from being left to brave the world alone, so he would not part with his son, even to a nurse. Raffaelle was brought up in his parents' house-his mother being his constant nurse, his father his instructor. He was never sent to school, but spent his time in his father's studio, living among beautiful forms, having for his playthings brushes and easels, and thus imbibing a love of art from his cradle. No other children came to divide with him his parents' care and affection, and life was all sunshine to the gentle and beautiful child; for, like Da Vinci, Raffaelle possessed the added charm of great personal beauty. Even in manhood, his portrait, with its soft mild eyes, and long flowing fair hair, is like the face of one of his own angels; and in childhood he must have been most lovely.

Surrounded by art, it is not wonderful that Raffaelle should have been a painter when a mere boy. His father delighted to see this bent in his darling son, instructed him to the utmost of his power, and Raffaelle was soon a great assistance to him in pictures which he from time to time executed for the few patrons which he had in his native Urbino. This good and loving father was not slow to see that his limited powers in art were insufficient to supply the rising genius of his son, and no shame or mortified self-love hindered him from acting upon this knowledge. He went to Perugia, where lived Pietro Perugino, an artist who had by his own unwearied diligence raised himself from low estate until he had become one of the best painters of the day. But Perugino was gone to Rome, and Giovanni Sanzio had to wait a long time for his return. At last Pietro arrived, and the humble painter of Urbino obtained an interview with his higher brother in art. Giovanni had a winning manner, and his reverence for Perugino turned the latter's heart towards him. He listened to Sanzio's frank and simple account of his son's

talent, and his own wishes to place him under such a master: and at last consented to take the little Raffaelle.

Giovanni returned home, having accomplished his desire. One can well imagine what a hard struggle it was for the father to place his boy in other hands, and how many tears the mother shed at parting with her only child; and it throws no discredit on Raffaelle's history to have parents who were capable of such a sacrifice. Giovanni took his son to Perugia, left him to the care of Perugino, who had conceived a sincere friendship for the father of his new pupil, and then returned to his lonely home in Urbino. Raffaelle had an excellent master in Perugino, as far as kindness went; from his instructions, however, he did not profit much. Perugino's style was hard and formal; now and then his attitudes were graceful, but his works, though praised in his day, were very inferior compared to those of his successors, and his one great contemporary, Leonardo da Vinci. Raffaelle copied his master's style so exactly, that his pictures at this period of his life cannot be distinguished from those of Perugino's. Having never known a higher style, the young artist went on calmly and composedly in this beaten track, winning much praise from the inhabitants of his native city, and of Perugia, who had no idea of a loftier standard of perfection than Perugino's. But a change was soon to come over the spirit of Raffaelle the Divine.

He had a friend and fellow-pupil named Pinturicchio, who was chosen by Cardinal Piccolomini to ornament the pope's library at Sienna. This young man invited Raffaelle to join him, and the latter assented, as he had now left Perugino, though the friendship and affection between the artist and his pupil continued undiminished until the death of the former. Raffaelle was only eighteen when he arrived at Sienna; there he, in conjunction with his friend Pinturicchio, painted ten large pictures, the subjects being taken from the life of Pope Pius II. While at Sienna, Raffaelle heard continually of the wonderful works of Leonardo da Vinci and Michael-Angelo, then exhibited at Florence. He resolved to go thither, and judge for himself of their perfection. Great indeed was his delight and wonder when he beheld with his own eyes these master-pieces of genius. Leonardo's particu larly attracted him, for Michael-Angelo had not then arrived at the zenith of his powers; and the inclination of Raffaelle was ever more to the beautiful than the severe and grand, so that doubtless he felt more sympathy with Da Vinci than with the giant Michael. He saw that he was yet but on the threshold of art; he felt his own weakness, and the defects of his master, and from that hour he changed his style, and followed Perugino

no more.

His delight in these pictures which Florence contained, and his liking for the beautiful city itself, determined Raffaelle to remain there for some time. He formed many friendships with

the young artists there, by whom his rising genius was much honoured. His greatest friend was Lorenzo Nati, for whom he painted a beautiful picture of the "Holy Family." The Virginmother holds in her lap her divine Son, to whom the infant St John is presenting a bird, in childish delight. This painting was preserved by Lorenzo during his lifetime with affectionate veneration and care. After his death it was kept by his heirs. But a disaster took place: a falling of earth from the neighbouring mount, San Georgio, laid the house in ruins, and Raffaelle's picture was buried under the ashes. However, Battista, a son of Lorenzo, succeeded in saving the fragments, and carefully restored them. The picture still exists.

Raffaelle's stay at Florence was sorrowfully terminated. He had news of the illness of his aged parents; he went to Urbino, but both were no more. They had seen only the dawnings of their son's glory; but doubtless that was reward sufficient for their unselfish and devoted affection. Raffaelle gathered together all the worldly goods which they had left him, and quitted his native place for ever. He stayed some time at Perugia, where he painted a picture for a chapel, and another for the Camaldolian monastery. One of these he left to be completed by his ancient master, Perugino, and returned to Florence in 1505. There he studied his beloved art with patience and enthusiasm combined, by means of which his reputation increased yearly.

At this time Bramante d'Urbino, a fellow-citizen and distant relative of Raffaelle's, was in high favour with Pope Julius II., and architect of St Peter's. He invited his young kinsman to Rome, where Julius received him with great kindness, and appointed him one of the artists who were employed in painting the Vatican. Raffaelle surpassed his competitors so much, that the pope immediately ordered all the other pictures to be effaced, and the work to be intrusted to Raffaelle alone; and here the generous and grateful spirit of the young artist had an opportunity of shining forth. Among the doomed pictures, was one by Pietro Perugino; but Raffaelle could not bear that such an insult should be offered to his kind old master; he intreated earnestly that it might be spared. The pope, touched by this unselfish request, granted it, and the picture still remains untouched except by the hand of time.

The death of Julius II. happened while Raffaelle was engaged in this great work; but his successor, Leo X., by equal encouragement, enabled the artist to continue with a brave heart, and the paintings were finished at the end of nine years. The rooms they adorn are called the Chambers of Raffaelle. They consist chiefly of Scripture subjects, and almost rival the works of Michael-Angelo in the Sistine Chapel. During these nine years, Raffaelle found time to paint other pictures, and to study architecture under Bramante; so that, on the death of this relative, appointed architect of St Peter's in his stead,

he was