Always called Raphael, was born at Urbino in 1483. His father died when he was eleven years old, and the boy was placed by his uncles, who became his guardians, with Perugino. His handiwork at this time is no doubt to be traced in many of Perugino’s pictures and frescoes; and, as may be seen, he was an important coadjutor with Pinturicchio at Siena. The earliest picture known to be painted entirely by himself is a “Crucifixion,” in the collection of Lord Dudley, done at the age of seventeen, which closely resembles the style of Perugino. In 1504 he first visited Florence, where he enjoyed the friendship of Francia and Fra Bartholommeo, and made acquaintance with the works of Leonardo and Michelangelo—new influences which considerably affected his style. With the exception of short visits to Perugia, Bologna, and Urbino, he was resident in Florence until 1508. In that year he went to Rome at the invitation of Pope Julius II., and was for the rest of his life continually in the employment of that pontiff and his successor, Leo X. Raphael died on his birthday, the 6th of April, 1520, aged exactly thirty-seven years. Raphael’s manner as a painter is divided into three styles, corresponding with the broad divisions of his life’s history. Unlike Michelangelo, whose genius and individuality is stamped on the earliest works from his hand, Raphael gained, as his experience of what had been done by his contemporaries was enlarged, a deeper and further insight into his own powers. His first, or Peruginesque style, characterizes those works which he produced while still the companion of his master, before his first visit to Florence; of these pictures the most important are the “Sposalizio” (or “Marriage of the Virgin,”) at Milan, and the “Coronation of the Virgin,” in the Vatican. His second, or Florentine, style covers the four years from his arrival in Florence in 1504, to his departure for Rome in 1508; here the manner of Fra Bartholommeo had great influence upon him; to this period belong the “Madonna del Cardellino” (“of the Goldfinch,”) in the Uffizi, “La Belle Jardinière,” of the Louvre, the “Madonna del Baldacchino,” in the Pitti (which was left incomplete by Raphael, and finished by another hand), and the “Entombment” in the Borghese Gallery, at Rome, his first attempt at a great historical composition. It is in his third, or Roman, style that Raphael fully asserts that sovereignty in art which has earned him the name of Prince of painters, and appears as the head of his own school, which, generally called the Roman School, might perhaps, as he collected round him followers from all parts of Italy, more fitly be termed the Raphaelesque. This third period includes all his great frescoes in the Vatican, with a host of easel pictures; for, short as Raphael’s life was, his works are wondrously numerous, and our space permits mention of only a few of even the most celebrated.