he pre-eminently surpasses in one of the faculties of genius, but he has embodied in his labours more of the requisites of perfection than any other of the modern masters. In grandeur of invention and form, he is inferior to Michael Angelo. Titian surpasses him in coloring, Corregio in gradation of tone. This superiority, however, becomes visible only where each of the qualities becomes the ruling sentiment of the work. For when we view in itself a composition of Raphael, where the style of design so exquisitely accords with the forms, the coloring corresponding with each, the chiar' oscuro just adequate to the degree of perception meditated; the whole harmonized by innate and unerring propriety, animated with his own peculiar grace and sentiment, while each separate quality becomes yet more perfect in the combination,--the pencil seems justly to have attained its unrivalled utmost. With their respective founders, the schools of Rome and Florence may be said to have terminated; at least the mantle of their teacher rested with very unequal inspiration upon the disciples of both. The death of Raphael, in 1520, proved an irremediable loss to the arts, the extent of which never can indeed be known. His pure and natural style, had it been more firmly engrafted by longer life, would probably have delayed, perhaps prevented, the sudden extravagance and mannerism which overspread the united schools of Tuscany and Rome, at the head of which Michael Angelo survived upwards of forty years. Among the various pursuits of taste, painting alone exhibits this singular fortune, that the noblest and most intellectual of its principles, as also those which speak most directly to sense, and are merely alluring, were invented at the same time, but in different places, and separately practised. It is worthy of remark, also, that in each respect the first inventors remained the most accomplished professors of their own discoveries. While in Rome and Florence, design and expression were receiving their perfection, forming the almost exclusive subjects of study, in Venice, the seductions of coloring, in Lombardy, the illusions of light and shadow, were adding unknown pomp and magic to the art.