He died towards the end of the year 1679, and was buried at Hault-Bucknall, close by the grave of his faithful patroness, the Countess of Devonshire. Respecting his personal character and conversation it is recorded, that he was agreeable and courteous in his familiar intercourse with all, those alone excepted who approached him for the mere purpose of disputation: and these he treated with more severity than was necessary. Above all things, he detested theological controversy, and always strove to turn his hearers away from it to the exercise of piety and the practice of Christian morality. His favourite authors were Homer, Virgil, Thucydides, and Euclid: but his reading was not extensive; as he thought the careful meditation on a few good works more profitable to the understanding than a more abundant draught of indiscriminate learning; and was fond of saying upon this subject, that if he read as much as others he should be as ignorant as they were. He persisted in a life of celibacy, that he might be able to pursue his studies with the less interruption. In his disposition he was generous and charitable; but his means were scanty: for even at the end of his life he had little else but two small pensions, the one from the family of Devon, the other from the king. [Illustration] RAPHAEL. Raffaello Sanzio, the greatest of painters, was born in 1483 at Urbino, where the house in which he passed the first years of his life is still preserved, consecrated by a suitable inscription. His first teacher was his father, Giovanni Sanzio, a painter who, allowing for the technical imperfections of the time, was perhaps entitled to more praise than Vasari has awarded him; the evidence of the remaining works of this master has indeed led his recent biographer, Pungileoni, to conclude that he was in many essential points equal to the best of his contemporaries, and that his feeling for expression may have had no unimportant influence on the genius he was destined to instruct. An interesting altar-piece by the elder Sanzio still exists at Urbino, in the church of S. Francesco, representing the Madonna with St. Francis and other saints: the members of the painter’s family are introduced, and among them the infant Raphael kneels by his mother’s side. [Illustration: _Engraved by J. Thomson._ RAFFAELLE. _From a Miniature copy of the original Picture in the Gallery at Florence. In the Possession of the Rev^d. Horace Cholmondeley Kingston House, Dorchester._ Under the Superintendance of the Society for the Diffusion of Useful Knowledge. _London, Published by Charles Knight, Ludgate Street._ ]