“This great artist” (Michael Angelo), says Vasari, “had felt some uneasiness at the growing fame of Raffaelle, and he gladly availed himself of the powers of Sebastiano del Piombo, as a colorist, in the hope that, assisted by his designs, he might be enabled to enter the lists successfully with his illustrious antagonist, if not to drive him from the field. With this view, he furnished him with the designs for the Pietà in the church of the Conventuali at Viterbo, and the Transfiguration and Flagellation, in S. Pietro in Montorio, at Rome, which, as he was very tedious in the process, occupied him six years.” It was at this juncture that the Cardinal de Medici commissioned Raffaelle to paint a picture of the Transfiguration, and in order to stimulate the rivalry, he engaged Sebastiano to paint one of the Resurrection of Lazarus, of precisely the same dimensions, for his Cathedral of Narbonne. That Sebastiano might enter the lists with some chance of success, he was again assisted by Buonarotti, who composed and designed the picture. On this occasion, Raffaelle exerted his utmost powers, triumphed over both his competitors, and produced that immortal picture which has received the most unqualified approbation of mankind as the finest picture in the world. Both pictures were publicly exhibited in competition, and the palm of victory was adjudged to Raffaelle--the Transfiguration was pronounced inimitable in composition, in design, in expression, and in grace. This sublime composition represents the mystery of Christ’s Transfiguration on Mount Tabor. At the foot of the Mount is assembled a multitude, among whom are the Disciples of our Lord, endeavoring in vain to relieve a youth from the dominion of an evil spirit. The various emotions of human doubt, anxiety, and pity, exhibited in the different figures, present one of the most pathetic incidents ever conceived; yet this part of the composition does not fix the attention so much as the principal figure on the summit of the mountain. There Christ appears elevated in the air, surrounded with a celestial radiance, between Moses and Elias, while the three favored Apostles are kneeling in devout astonishment on the ground. The head and attitude of the Saviour are distinguished by a divine majesty and sublimity, that is indescribable. DEATH OF RAFFAELLE.