This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1878 edition. Excerpt: ...it to bring forth abundantly. When, therefore, as in his Isaiah at San Agostino, he worked in the spirit of Michelangelo, we may suppose that he did so intentionally. Raphael possessed this Protean power in an eminent degree, while Michelangelo, shut up within himself as in a strongly walled fortress, was wholly wanting in it. His artistic sympathies were dead to works however excellent which were produced by modes of thought different from his own, and even his appreciation of beauty in man was limited to one period of life. Enamored of the adult human form, he lost the perception of those differences which distinguish man at different periods of life, and gave the same muscular forms to the bodies of young and old. Raphael, on the contrary, had a true standard in his mind for each type of beauty. His children are the very essence of childhood, with all its graces and charms, even when as in Him of the San Sisto the tender face is freighted with Divinity. His young men are ideals of manly strength and beauty, his virgins of purity and delicacy, his matrons, like Juno, of nobility and dignity, his old men, like the sages of antiquity, of venerable wisdom. His lyre was fitted with many strings, and he played it like one who was master of all its infinite resources, while that of Michelangelo gave forth but one sublime unvarying strain. Before Raphael had terminated the frescos in the Camera della Segnatura, he had planned those which were to be painted in the adjoining room, generally known as the Chamber of Heliodorus from the only one of the four terminated before the death of Julius II. Considering himself as the divinely appointed defender of the Church against her enemies whether spiritual or temporal, this Pope desired to be so...