to be associated with Leonardo da Vinci and Michael Angelo in painting the halls of the Palazzo Vecchio, at Florence, when Pope Julius II. called him to Rome, and gave him in charge to adorn the walls of the Vatican.
At this time Michael Angelo was, I will not say, his rival; but, as he painted the Sistine Chapel while Raffaelle was engaged upon the Vatican, a passion of generous emulation rose in the heart of the latter that spurred him on to work with indefatigable ardour. As Lanzi tells us, the subjects chosen for these halls elevated his imagination. They were not scenes from old mythology, “but the mysteries of the noblest science—the most august circumstances pertaining to religion, and military deeds whose result established peace and faith in the world.” None better than Raffaelle could achieve this work; for of all men he had firmest hold of “that golden chain which is let down from Heaven, and with a divine enthusiasm ravishes our souls, made to the image of God, and stirs us up to comprehend the innate and incorruptible beauty to which we were once created.”[1]
He began by the figures of Theology, Philosophy, Poetry, and Jurisprudence, on the arched roof of one of the rooms. The figures of Theology and
- ↑ Plato’s Ion. Shelley’s Essays.
