year of his age, and as he embellished the world by his talents while on earth, so is it to be believed that his soul is now adorning heaven.
After his death, the body of Raphael was placed at the upper end of the hall wherein he had last worked, with the picture of the Transfiguration, which he had executed for Cardinal Giulio de’ Medici, at the head of the corpse. He who, regarding that living picture, afterwards turned to consider that dead body, felt his heart bursting with grief as he beheld them. The loss of Raphael caused the Cardinal to command that this work should be placed on the High Altar of San Pietro-a-Montorio, where it has ever since been held in the utmost veneration for its own great value, as well as for the excellence of its author.[1] The remains of this divine artist received that honourable sepulture which the noble spirit whereby they had been informed had so well deserved, nor was there any artist in Rome who did not deeply bewail the loss sustained by the departure of the Master, or who failed to accompany his remains to their repose.
The death of Raphael was in like manner bitterly deplored by all the papal court, not only because he had formed part thereof, since he had held the office of chamberlain to the Pontiff, but also because Leo X. had esteemed him so highly, that his loss occasioned that sovereign the bitterest grief.[2] Oh most happy and thrice blessed spirit, of whom all are proud to speak, whose actions are celebrated with praise by all men, and the least of whose works left behind thee, is admired and prized! When this noble artist died, well might Painting have departed also, for when he closed his eyes, she too Avas left as it were blind.[3] But now to us, whose lot it is to come after him,
- ↑ Considered, as our readers are aware, the first picture in the world, and now in the Vatican.
- ↑ During his illness, which lasted a fortnight, Raphael is said to have received proofs of the most affectionate interest from all quarters, not excepting the Pope himself.
- ↑ His place of burial was in the Pantheon, immediately beneath the figure of the Madonna, executed, as above said, by Lorenzetto. The tomb was opened in Oct., 1833, when the skeleton was found remaining, with the skull entire, proving that a skull previously preserved as that of Raphael in the Academy of St. Luke, in Rome, was not that of the painter. This opening of the tomb of Raphael is described in Italian by the Prince Pietro Odescalchi, and in German by the painter Overbeck.
