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 RAPHAEL. 141 Baising of Lazarus, were both painted for the Cardinal Giulio de' Medici, in 1519: Eaphael's picture was not finished. It was under these circum- stances, that on one occasion in March, 1483, when engaged at the Famesina, he was suddenly summoned by Leo X. to the Vatican, and in his haste to meet the Pope, overheated himself, and in that state he had his audience with Leo, within the cool precincts of the Vatican, and caught a cold, which ended in a fever, fatal to him in four- teen days. He was buried with great pomp in the Pantheon. Eaphael's untimely death is assumed to have been a great calamity to his art; but it can hardly be a question that he had fulfilled his destiny, had performed his work. His commissions and occupations were too multifarious to admit of an undivided attention, or perfect performance for the future :. the Heliodorus, the Madonna di San Sisto, the Cartoons at Hampton Court, were not to be surpassed even by him- self, and as all the circumstances seemed to fully promise that his works must henceforth be chiefiy executed by his scholars, the Stanza dell' In- cendio, the Psyche series of the Far- nesina, or the Arazzi della Scuola Nuova, are rather the truer exponents of the character of his ultimate style, than the Cartoons, or Transfiguration itself, his last work, and produced under peculiar incitement. On the whole, perhaps, the Hampton Court Cartoons must be considered as Ba- phael's noblest work; the series con- sisted originally of ten, three are lost — ^the Stoning of St Stephen ; the Conversion of St. Paul ; and St Paul in Prison at Philippi. Of the seven at Hampton Court, the character is well given in Burnet's prints. Baphael was of a sallow complexion, had brown eyes, was slight in form, and about five feet eight inches high : he was never married, but was engaged to Maria Bibiena, the niece of the cardinal of that name ; she died before him. He left property to the value of 16,000 ducats, from which he be- queathed an independence to the beau- tiful Fomarina. His pictures, draw- ings, and other art materials he left to his favourite scholars Giulio Bomano and Penni, called II Fattore, on con- dition of completing his unfinished works. His numerous school was dis- persed after the sack of Bome in 1527, but this dispersal scattered the germs of the Boman School throughout Italy, and tended greatly to spread the better taste of the sixteenth century. Works, Urbino, in the Ducal Gal- lery, <fec., several early specimens. Perugia, San Severe, the Trinity, fresco, 1505: church of the Francis- cans, Coronation of the Virgin; and many others. Florence, Ufflz^j, Ma- donna del Cardellino; St John the Baptist; the Fomarina?; and his own Portrait : Pitti Palace, Madonna della Sedia ; Madonna del Baldachino ; Ma- donna del Impannata ; Julius II. ; Leo X. and the Cardinals de' Medici and de' Bossi; and others. Bome, Borghese Gallery, Entombment : Fres- coes of the Vatican, Stanze and Loggie : Vatican Gallery, San Niccola da Tolen- tino; Coronation of the Virgin; Ma- donna di Foligno; Transfiguration: Sant' Agostino, Isaiah : Santa Maria della Pace, Prophets and Sibyls : the Famesina, Galatea ; Psyche, <feo. ; Villa Madama, <&c., &c. Naples, Studj, Ma- donna della Gatta; Madonna del Passeggio, (fee. Milan, Brera, Lo Spo- salizio. Bologna, Academy, St Cecilia. Paris, Louvre, La Belle Jardiniere (1507); Holy Family of Francis L (1518) ; St Michael and Satan (1518); Balthazar Castiglione ; and other por- traits. Madrid Gallery, Holy Family, La Perla; the Madonna del Pesce; Christ bearing his Cross, Lo Spasimo ;