This expression is always observable in his Madonnas. His portraits of the _Fornarina_ are widely different. Raphael, in his last and most excellent style, united what was graceful and exquisite in Leonardo with the sublime and noble manner of Michael Angelo. It is the privilege and glory of genius to appropriate to itself whatever is noble and true. The region of thought is thus made a common ground for all, and one master mind becomes a reservoir for the present and future times. When Raphael was invited to Rome by Pope Julius II., Michael Angelo was at the height of his glory; his character tended to inspire awe rather than affection; he delighted in the majestic and the terrible. In boldness of conception and grandeur of design, he surpassed Leonardo, but never could reach the sweetness and gentleness of his figures. Even his children lose something of their infantine beauty, and look mature; his women are commanding and lofty; his men of gigantic proportions. His painting, like his sculpture, is remarkable for anatomical exactness, and perfect expression of the muscles. For this union of magnificence and sublimity, it was necessary to prepare the mind; the first view was almost harsh, and it was by degrees that his mighty works produced their designed effect. Raphael, while he felt all the greatness of the Florentine, conceived that there might be something more like nature--something that should be harmonious, sweet, and flowing--that should convey the idea of intellectual rather than of external majesty. Without yielding any of the correctness of science, he avoided harshness, and imitated antiquity in uniting grace and elegance with a strict observation of science and of the rules of art. It was with surprise that Michael Angelo beheld in the youthful Raphael a rival artist; nor did he receive this truth meekly; he treated him with coldness and distance. In the meantime Raphael went on with his works; he completed the frescos of the Vatican, and designed the cartoons. He also produced those exquisite paintings in oil which seem the perfection of human art. [Illustration: Leo X. at Raphael's Bier.] Human affection is necessary to awaken the sympathy of human beings; and Raphael, in learning how to portray it, had found the way to the heart. In mere grandeur of invention he was surpassed by Michael Angelo. Titian excelled him in coloring, and Correggio in the beautiful gradation of tone; but Raphael knew how to paint the soul; in this he stood alone. This was the great secret of a power which seemed to operate like magic. In his paintings there is something which makes music on the chords of every heart; for they are the expression of a mind attuned to nature, and find answering sympathies in the universal soul.