But Raphael, excelling in all things, is here excellent above all; his angels combine in a higher degree than any other, the various faculties and attributes in which the fancy loves to clothe these pure, immortal, beatified creatures. The angels of Giotti, of Benozzo, of Fiesole, are, if not female, feminine; those of Filippo Lippi and of Andrea, masculine; but you cannot say of those of Raphael, that they are masculine or feminine. The idea of sex is wholly lost in the blending of power, intelligence, and grace. In his early pictures, grace is the predominant characteristic, as in the dancing and singing angels in his "Coronation of the Virgin." In his later pictures the sentiment in his ministering angels is more spiritual, more dignified. As a perfect example of grand and poetical feeling, I may cite the angels as "Regents of the Planets," in the Capella Chigiana. The cupola represents in a circle the creation of the solar system, according to the theological and astronomical (or rather astrological) notions which then prevailed--a hundred years before "the starry Galileo and his woes." In the centre is the Creator; around, in eight compartments, we have, first, the angel of the celestial sphere, who seems to be listening to the divine mandate: "Let there be light in the firmament of heaven;" then follow in their order, the Sun, the Moon, Mercury, Venus, Mars, Jupiter, and Saturn. The name of each planet is expressed by its mythological representative; the Sun by Apollo, the Moon by Diana: and over each presides a grand colossal-winged spirit, seated or reclining on a portion of the zodiac as on a throne. I have selected two angels to give an idea of this peculiar and poetical treatment. The union of the theological and the mythological attributes is in the classical taste of the time, and quite Miltonic. In Raphael's child-angels, the expression of power and intelligence, as well as innocence, is quite wonderful; for instance, look at the two angel- boys, in the Dresden Madonna di San Sisto, and the angels, or celestial genii, who bear along the Almighty when he appears to Noah. No one has expressed like Raphael the action of flight, except perhaps Rembrandt. The angel who descends to crown Santa Felicita cleaves the air with the action of a swallow: and the angel in Rembrandt's Tobit soars like a lark with upward motion, spurning the earth.