"Raphael, Goethe, and Shakespeare had scarcely outward destinies. They interfered with no apparent power in the struggles of their people. They enjoyed life; they worked; they went their way, and compelled no one to follow them. They obtruded themselves on none; and they asked not the world to consider them, or to do as they did. But the others all came of themselves, and drew from their refreshing streams. Can we mention a violent act of Raphael's, Goethe's, or Shakespeare's? "Goethe, who seems so deeply involved in all that concerns us, who is the author of our mental culture, nowhere opposed events; he turned wherever he could advance most easily. He was diligent. He had in his mind the completion of his works. Schiller wished to produce and to gain influence; Michael Angelo wished to act, and could not bear that lesser men should stand in the front, over whom he felt himself master. The course of events moved Michael Angelo, and animated or checked his ideas. It is not possible to extricate the consideration of his life from the events going on in the world, while Raphael's life can be narrated separately like an idyl." Raphael, while still under Perugino, had received from Donna Atalanta Baglioni the order for an "Entombment" for the Church of the Franciscans. This he painted in 1507. A century later the monks sold it to Pope Paul V., who had it removed to the Borghese Palace in Rome. The body of Christ is being borne to the tomb by two men. The weeping Magdalen is holding his hand, and the Virgin is fainting in the arms of three women. Grimm says, "The bearers of the body move along, conscious of carrying a noble burden. And Christ, himself, beauty, serenity, and mercy dwell in him in fullest measure, as if his spirit still both informed his body and glorified it. Only Raphael could undertake to paint this. No one before or after him could so simply and naturally picture the earthly form, irradiated with heavenly light." "St. Catherine of Alexandria," painted at this time, now in the National Gallery of London, says Passavant, "is one of the works which nothing can describe; neither words nor a painted copy, nor engravings, for the fire in it appears living, and is perfectly beyond the reach of imitation." "La Belle Jardinière," in the Louvre, considered one of the best and most beautiful of Raphael's works, represents the Virgin in the midst of rich landscape, the ground covered with grass and flowers, while the infant Christ looks up to her with great tenderness. It is said that the model was a lovely flower-girl to whom the painter was much attached. While finishing this picture he was called to Rome by the famous Pope Julius II., and went to the Eternal City with great hope and delight.