His friend Cardinal Pietro Bembo wrote his epitaph in Latin: "Dedicated to Raphael Sanzio, the son of Giovanni of Urbino, the most eminent painter, who emulated the ancients. In whom the union of Nature and Art is easily perceived. He increased the glory of the pontiffs Julius II. and Leo X. by his works of painting and architecture. He lived exactly thirty-seven years, and died on the anniversary of his birth, April 6, 1520. "Living, great Nature feared he might outvie Her works, and, dying, fears herself to die." Count Castiglione wrote to his mother, "It seems as if I were not in Rome, since my poor Raphael is here no longer." The pope, Leo X., could not be comforted, and, it is said, burst into tears, exclaiming, "_Ora pro nobis._" The Mantuan Ambassador wrote home the day after Raphael's death, "Nothing is talked of here but the loss of the man who at the close of his three-and-thirtieth year [thirty-seventh] has now ended his first life; his second, that of his posthumous fame, independent of death and transitory things, through his works, and in what the learned will write in his praise, must continue forever." Three hundred and thirteen years after his death his tomb was opened, in 1833, and the complete skeleton was found. After five weeks, the precious remains were enclosed in a leaden coffin, and that in a marble sarcophagus, and reburied at night, the Pantheon being illuminated, and the chief artists and cultivated people of the city bearing torches in the reverent procession. Dead at thirty-seven, and yet how amazing the amount of work accomplished. He left two hundred and eighty-seven pictures and five hundred and seventy-six drawings and studies. Michael Angelo said Raphael owed more to his wonderful industry than to his genius. When asked once by his pupils how he accomplished so much, Raphael replied, "From my earliest childhood I have made it a principle never to neglect anything." Passavant says, "He was the most ideal artist that God has ever created." His maxim was, "We must not represent things as they are, but as they should be." Says Charles C. Perkins of Boston, "Throughout all his works there is not an expression of face, or a contour, whether of muscle or drapery, which is not exactly suited to its end; nor in the thousands of figures which he drew or painted can we recall an ungraceful or a mannered line or pose. This was because of all artists since the Greeks, he had the most perfect feeling for true beauty. The beautiful was his special field, and hence he is first among his kind. Leonardo had more depth, Michael Angelo more grandeur, Correggio more sweetness; but none of them approached Raphael as an exponent of beauty whether in young or old, in mortals or immortals, in earthly or divine beings.