Raphael continually visited the Trastevere, a popular quarter where the most beautiful women in Rome were to be found, in order to seek the type of a Madonna. It was here he became acquainted with the Fornarina and his models. But when he painted the Madonna he reproduced "the image of his soul." We are told that Michelangelo would spend entire evenings gazing into space; and when they asked him at what he was gazing, he replied: "I see a dome." It was after this form, so marvelously created within him, that the famous cupola of St. Peter's in Rome was fashioned. But it could never have been born, even in the mind of Michelangelo, if his architectural studies had not prepared the material for it. No genius has ever been able to create the absolutely new. We have only to think of certain forms much used in art, and heavy and grotesque as the human fancy which is incapable of rising above the earth. It seems to me amazing that the figure of the winged angel should still persist, and that no artist should have yet improved upon it. To represent a being more diaphanous than man, and without corporeal weight, we have robust beings whose backs are furnished with colossal wings covered with heavy feathers. Strange indeed is this fusion in a single creature of such incompatible natural features as hair and feathers, and this attribution to a human being of six limbs--arms, legs and wings, as to an insect. This "strange conception" continues to be so materialized, not certainly as an artistic idea, but as the result of poverty of language. Indeed, we talk of angels "flying" because our language is human and earthly, and we cannot imagine the attributes of angels. Few indeed are the artists who in pictures of the Annunciation represent the Angel as a luminous, delicate, and evanescent figure. The more perfect the approximation to truth, the more perfect is art. When, for instance, in a drawing-room, some one pays us a compliment, if this is founded upon one of our real qualities, and touches it closely, we feel legitimate satisfaction, because what has been said is relevant, and we may conclude that the person _has observed us_ and feels a sincere admiration for us. We accordingly think of such a person: He is subtle and intellectual; and we feel disposed to reciprocate his friendliness. But if the compliment praises us for qualities we do not possess, or distorts or exaggerates our true attributes, we think with disgust: What a coarse creature! and feel even more coldly to him than before. Dante's sublime sonnet must certainly have touched the heart of Beatrice profoundly: