Younger than Michelangelo and living only about half as long, Raphael (1483-1520), nevertheless, surpassed him in the harmonious composition and linear beauty of his painting. For ineffable charm of grace, "the divine" Raphael has always stood without a peer. Raphael lived the better part of his life at Rome under the patronage of Julius II and Leo X, and spent several years in decorating the papal palace of the Vatican. Although he was, for a time, architect of St. Peter's cathedral, and displayed some aptitude for sculpture and for the scholarly study of archæeology, it is as the greatest of modern painters that he is now regarded. Raphael lived fortunately, always in favor, and rich, and bearing himself like a prince. [Sidenote: Titian] Titian (c. 1477-1576) was the typical representative of the Venetian school of painting which acquired great distinction in bright coloring. Official painter for the city of Venice and patronized both by the Emperor Charles V and by Philip II of Spain, he secured considerable wealth and fame. He was not a man of universal genius like Leonardo da Vinci or Michelangelo; his one great and supreme endowment was that of oil painting. In harmony, light, and color, his work has never been equaled. Titian's portrait of Philip II was sent to England and proved a potent auxiliary in the suit of the Spanish king for the hand of Mary Tudor. His celebrated picture of the Council of Trent was executed after the aged artist's visit to the council about 1555. From Italy as a center, great painting became the heritage of all Europe. Italian painters were brought to France by Louis XII and Francis I, and French painters were subsidized to imitate them. Philip II proved himself a liberal patron of painting throughout his dominions. [Sidenote: Dürer] In Germany, painting was developed by Albrecht Dürer (1471-1528), a native of Nuremberg, who received a stimulus from Italian work and was royally patronized by the Emperor Maximilian. The career of Dürer was honored and fortunate: he was on terms of friendship with all the first masters of his age; he even visited and painted Erasmus. But it is as an etcher or engraver, rather than as a painter, that Dürer's reputation was earned. His greatest engravings--such as the Knight and Death, and St. Jerome in his Study--set a standard in a new art which has never been reached by his successors. The first considerable employment of engraving, one of the most useful of the arts, synchronized with the invention of printing. Just as books were a means of multiplying, cheapening, and disseminating ideas, so engravings on copper or wood were the means of multiplying, cheapening, and disseminating pictures which gave vividness to the ideas, or served in place of books for those who could not read.