“Nothing escaped him that related to the expression of his subject: and by the heat of his fancy, as well as by the solidity of his judgment, he raised divine things by human, and understood how to give men those different degrees, that elevate them to the character of heroes. “The best of the examples which he has left us is our Lord’s Supper, which he painted at Milan, wherein he has represented the apostles in places that suit with them, and our Saviour in the most honourable, the midst of all, having nobody near enough to press or incommode him. His attitude is grand, his arms are in a loose and free posture, to show the greater grandeur, while the apostles appear agitated one side to the other by the vehemence of their inquietude, and in which there is, however, no meanness, nor any indecent action to be seen. In short by his profound speculations he arrived to such a degree of perfection, that it seems to me impossible to speak so well of him as he deserves, and much more to imitate him.” _The Art of Painting ... Translated from the French of Monsieur De Piles_, London about 1725. p. 107 f. [Illustration: FIG. 167. Raphael. Count Baldassare Castiglione, author of “the Courtier.”—_Louvre._ ] CHAPTER VI THE GOLDEN AGE RAPHAEL AND MICHELANGELO On pride and humility in Art—The new Grand Style defined—Umbrian humility in the Early Painters—Gentile da Fabriano—The Fifteenth Century—Luca Signorelli—Perugino—Raphael; Early development—Roman triumph—Michelangelesque aberrations—Michelangelo.