the favour of the most eminent men of letters of his age; and Bembo, Castiglione, Giovio, Navagero, Ariosto, Aretino, Fulvio, and Calcagnini, set a high value on his friendship, and supplied him, we may be allowed to suppose, with hints and ideas for his works. His rival Michelangiolo, too, and his party, contributed not a little to the success of Raffaello. As the contest between Zeuxis and Parrhasius was beneficial to them both, so the rivalship of Bonarruoti and Sanzio aided the fame of Michelangiolo, and produced the paintings of the Sistine chapel; and at the same time contributed to the celebrity of Raffaello, by producing the pictures of the Vatican, and not a few others. Michelangiolo disdaining any secondary honours, came to the combat, as it were, attended by his shield bearer; for he made drawings in his grand style, and then gave them to F. Sebastiano, the scholar of Giorgione, to execute; and by these means he hoped that Raffaello would never be able to rival his productions either in design or colour. Raffaello stood alone; but aimed at producing works with a degree of perfection beyond the united efforts of Michelangiolo and Sebastian del Piombo, combining in himself a fertile invention, ideal beauty founded on a correct imitation of the Greek style, grace, ease, amenity, and an universality of genius in every department of the art. The noble determination of triumphing in such a powerful contest animated him night and day, and did not allow him any respite. It also excited him to surpass both his rivals and himself in every new work which he produced. The subjects, too, chosen for these chambers, aided him, as they were in a great measure new, or required to be treated in a novel manner. They did not profess to represent bacchanalian or vulgar scenes, but the exalted symbols of science; the sacred functions of religion; military actions, which contributed to establish the peace of the world; important events of former days, under which were typified the reigns of the Pontiffs Julius and Leo X.: the latter the most powerful protector, and one of the most accomplished judges of art. More favourable circumstances could not have conspired to stimulate a noble mind. The eulogizing of Augustus was a theme for the poets of his age, which produced the richest fruits of genius. Propertius, accustomed to sing only of the charms or the disdain of his Cinthia, felt himself another poet when called on to celebrate the triumphs of Augustus; and with newborn fervour invoked Jove himself to suspend the functions of his divinity whilst he sang the praises of the emperor.[38] It is certain that such elevated subjects, in minds richly stored, must excite corresponding ideas, and thus both in poets and painters, give birth to the sublime.