It has often been a source of wonder how Raphael was able to paint so appropriately the figures of Plato, Socrates, Aristotle and others in his great picture of the "School of Athens." Only the genius that gives men intuition, that enabled Shakespeare to portray wonderfully the character of the men of all times and the blind Homer to give us an enduring picture of man could have enabled him to do it. It was the time of the New Learning and the recently aroused interest in the classics, but no mere accumulation of information would ever have made him capable of such a representation. As Gladstone once said of Homer, a whole encyclopaedia of information with regard to the Greeks of Homer's time would not have told us as much about them as Homer has given us. At the time when he did the painting Raphael was not much more than thirty and his life had been occupied with painting and not with the accumulation of erudition. Henry Strachey in {9} his sketch of Raphael calls attention to the fact that none of the great contemporary Italian humanists were in Rome at this time. Neither Bembo nor Bibbiena nor Castiglione were where they might be readily consulted, and it was only Raphael's genius insight that enabled him to accomplish so wonderfully the task he had been set. For while the subjects were probably chosen for him he had to work out the details for himself, and indeed these wonderful compositions show this very clearly. [Illustration: Raphael, School of Athens] Raphael revealed for us in the "Camera della Segnatura," as almost no one else has done, the attitude of mind of his period with regard to the meaning of life. Years of scholarly devotion to the study of pagan antiquity and especially the great Greek philosophers and poets, as well as the remains of its sculpture, had awakened in men's minds a broader view of life and its significance than had been possible for centuries. Raphael has summed this up in the wonderful documents that he has left in the Vatican and put on canvas what the great scholars of the time tried to express in words. The late Professor Kraus of Munich in his chapter on Medicean Rome in the second volume of the Cambridge modern History has told the story of this: "The four pictures of the camera represent the aspirations of the soul of man in each of its faculties; the striving of all humanity towards God by means of aesthetic perception (Parnassus), the explanation of reason in philosophical inquiry and all scientific research (the _School of Athens_), order in Church and State (_Gift of Ecclesiastical and Secular Laws_) and finally Theology. The whole may be summed up as a pictorial representation of Pico della Mirandola's celebrated phrase, _philosophia veritatem quaerit, theologia invenit, religio possidet;_ and it corresponds with what Marsilio says in his _Academy of Noble Minds_ when he characterized our life's work as an ascent to the angels and to God."