The frescoes of the Life of Psyche, in the Farnesina, are beautiful in arrangement and full of a robust paganism. But the wall is overcharged with the weight of figures which too often show Giulio Romano’s heavy and insolent hand. All the same, the whole effect is gracious and the garlanded borders of the coves and spandrels by Giovanni da Udine are delightful. To realize how much these frescoes lost from student execution one has only to consider the Galatea, Figure 192a, in the same Palace, which Raphael painted himself in 1514. It is on the verge of over-ripeness, but keeps its saving element of restraint. In answer to an inquiry from that great diplomat and gentleman, Count Baldassare Castiglione, Raphael wrote that though beautiful models were not rare, for the Galatea as for other figures, he had followed only an idea; and indeed the mind’s eye is what ever counts with Raphael. [Illustration: FIG. 192_a._> Raphael. Galatea. Fresco.—_Farnesina, Rome._ ] [Illustration: FIG. 193. Raphael. The Sistine Madonna.—_Dresden._ ] Raphael’s final work for the Vatican was the decoration of an open, vaulted Loggia. He invented fifty-two little Bible stories, leaving most of the painting to his assistant, Penni, and he drew about the arches, pilasters and window frames the most delicious arabesques. From study of similar decoration in the Baths of Titus he worked out a style, crisp, formal and sophisticated, and as various as Gothic ornament itself. Geometrical, animal, and plant forms meet and blend audaciously. There is interplay of spiral and angular motives, the whole effect is highly playful and ingenious. The style has had vogue to our own day and still speaks to us charmingly of the unserious side of Raphael. [Illustration: FIG. 194. Raphael. The Transfiguration.—_Vatican._ ] Perhaps in the harassed, competitive years we have been describing, Raphael turned occasionally upon his own ingenuity, and refreshed himself by renewing these simple and gracious modes in which he had been bred. Such a theory would account for the Sistine Madonna, Figure 193, and in part for his last picture, the Transfiguration. The most memorable of Raphael’s Madonnas is based on the lucid symmetry of Perugino. Although, for greater concentration, the background is merely a sky, the hovering figures are easily spaced in the usual triangle. The effect is ineffably grand and gentle. A quiet silvery cloudland is created and filled by the devotion of the attendant saints and the inspired glance of the Virgin and her Son. With all the resources of the Renaissance, Raphael has expressed an emotion as intense and reverent as that of Fra Angelico. It is an amazing act of the sympathetic intelligence, for there is no reason to suppose that the painter was ever a deeply religious spirit.