His jealousy had been excited by the high admiration with which Julius regarded Michael Angelo’s talent; and he strove to arrest the progress of the intended monument, by stimulating in the pope a superstitious dread of constructing his own tomb. He was, perhaps, not more envious of Michael Angelo as a rival, than of the art of sculpture as compared with his own; and it may have been with the view of diverting the pope’s mind from the engrossing subject of the tomb, that he suggested that Michael Angelo should be employed in painting the vault of the Sistine Chapel. Julius, adopting the suggestion, ordered Bramante to construct a scaffold for the painter’s purpose; but it was no sooner done than Michael Angelo rejected it as totally unfit, and invented one himself. If the opposition of these celebrated men had been hitherto restrained within bounds, it now assumed a more decided character of hostility. Half the painting of the chapel being completed, Bramante was desirous that Raphael, then rising into eminence, should finish the half remaining; expecting, no doubt, that the latter, being more exclusively a painter, would exhibit a superiority over one who had chiefly practised as a sculptor. At this, the indignation of Michael Angelo was naturally fired, and he arraigned at once, in the presence of the Pope, not only the architectural defects of Bramante’s buildings, but likewise the moral faults of his character. At a former period, however, he had paid full tribute to his rival’s exalted taste, saying, in his letter to a friend, “It cannot be denied that Bramante is superior in architecture to all others since the time of the ancients.” Among the more pleasing passages of Bramante’s life, is that which relates to his friendship for the inimitable Raphael, who was his fellow-countryman, and, as it is reported, his relation. Certain it is that Raphael was his pupil in architecture, and that he entertained an affectionate regard for his master, whose portrait he introduced into his celebrated picture of the “School of Athens,” where Bramante is represented as describing with his compasses a geometrical figure to several youths who surround him.