. L'art de la renaissance italienne; un manuel pour les étudiants et les voyageurs. Up son David, et a été employé sur ses soldats de bain. Entre-temps, Leonardo a dessiné le dessin animé de sa pièce de combat, et dans son Monna Lisa a réalisé des résultats sans précédent. Il était déjà dans le premier de la vie et avait une brillante réputation ; ^lichelangelo était sur le seuil de manhoodwith un futur assuré liefore lui, ?while Raphaël avait à peine passé la dixième année. Quelle perspective de succès pourrait-il espérer en cas de pittedface à ces géants . J Perugino était très estimé sur l'Arno. Le jeune Raphae

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. The art of the Italian renaissance; a handbook for students and travellers. up his David, and was employed on his Bathing- Soldiers. Leonardo meantime haddesigned the cartoon of his battle-piece, and in his Monna Lisa was achievingunprecedented results. He was already in the prime of life and had wona brilliant reputation ; ^lichelangelo was on the threshold of manhoodwith an assured future liefore him, ?while Raphael had barely passed histwentieth year. What prospect of success could he hope for when pittedagainst these giants . J Perugino was highly esteemed on the Arno. The youthful Raphaelmay well have been told that he might alway find a public for his mastersstyle. He may have l)een encouraged to hope that he would become asecond or even a better Perugino. His pictures did not seem to promiseany more strongly marked individuality. Free from any trace of Florentine realism, simple in his conception, and modest in his treatment of the line of beauty, Raphael entered thelists against the great masters ith very slight prospects of success. But RAPHAEL 79. he brought itli liim atalent pecuhar to hini-seh, a capacity for grasp-ing fresh notions, andchanging preconceivedideaa^. He gave the tirstgreat proof of this whenlie abandoned the tenetsof the Unibrian Schooland devoted himself toFlorentine problems. Few-artists «ould have beenable to do so, but if wesurvey the brief careerof Kaphael ^?e shall becompelled to admit thatno one else has evershown similar develojj-ment in so limited a time.The Umbrian visionary became the painter of great dramatic scenes : the outh who hardh* en-tnred on contact with the things of earth, became a portrait-painterwhoJiad__a__jp!OwerfLd- grasp of his subject. The draughtsmanship ofPeruginos style changed into a pictorial manner, and the narrow taste forbeauty_ in repose ga^e place to the craving for l:)old effects of movingina^aes. We note the first indication of the virile Roman master. Raphael had not the fine neres and th

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