Bartolommeo, Da Vinci, were masters certainly of what we call "the ideal" in art. Yet for Raphael, so loyal hitherto to the traditions of Umbrian art, to its heavy weight of hieratic tradition, dealing still somewhat conventionally with a limited, non-natural matter--for Raphael to come from Siena, Perugia, Urbino, to sharp-witted, practical, masterful Florence was in immediate effect a transition from reverie to [50] realities--to a world of facts. Those masters of the ideal were for him, in the first instance, masters also of realism, as we say. Henceforth, to the end, he will be the analyst, the faithful reporter, in his work, of what he sees. He will realise the function of style as exemplified in the practice of Da Vinci, face to face with the world of nature and man as they are; selecting from, asserting one's self in a transcript of its veritable data; like drawing to like there, in obedience to the master's preference for the embodiment of the creative form within him. Portrait-art had been nowhere in the school of Perugino, but it was the triumph of the school of Florence. And here a faithful analyst of what he sees, yet lifting it withal, unconsciously, inevitably, recomposing, glorifying, Raphael too becomes, of course, a painter of portraits. We may foresee them already in masterly series, from Maddalena Doni, a kind of younger, more virginal sister of La Gioconda, to cardinals and popes--to that most sensitive of all portraits, the "Violin-player," if it be really his. But then, on the other hand, the influence of such portraiture will be felt also in his inventive work, in a certain reality there, a certain convincing loyalty to experience and observation. In his most elevated religious work he will still keep, for security at least, close to nature, and the truth of nature. His modelling of the visible surface is lovely because he understands, can see the hidden causes [51] of momentary action in the face, the hands--how men and animals are really made and kept alive. Set side by side, then, with that portrait of Maddalena Doni, as forming together a measure of what he has learned at Florence, the "Madonna del Gran Duca," which still remains there. Call it on revision, and without hesitation, the loveliest of his Madonnas, perhaps of all Madonnas; and let it stand as representative of as many as fifty or sixty types of that subject, onwards to the Sixtine Madonna, in all the triumphancy of his later days at Rome. Observe the veritable atmosphere about it, the grand composition of the drapery, the magic relief, the sweetness and dignity of the human hands and faces, the noble tenderness of Mary's gesture, the unity of the thing with itself, the faultless exclusion of all that does not belong to its main purpose; it is like a single, simple axiomatic thought. Note withal the novelty of its effect on the mind, and you will see that this master of style (that's a consummate example of what is meant by