The Delphic Sibyl (p1.32, fig. 5) gives an instance of this arrangement. The uppermost two figures, which seem to embody natural forces, are seated in easy but noble attitudes: their pedestals are each supported by two naked boys, who act as caryatids; they stand on bases forming part of a framework which surrounds the figure of the Sibyl, beneath whom stands the graceful figure of a boy. Within the arches below are two groups, each of a grown person and a child, supposed to represent a gen eration in the genealogy of Christ or the Virgin. A similar section is shown in Figure 6, the main difference being that the prophet Isaiah here takes the place of the Sibyl.
One of the compositions adorning the central part of the ceiling, between the architectural framework, is given in Figure This is the Creation of Adam. On a bill-side lies the still helpless body of the first man, gradually coming to life and consciousness on the approach of the Creator. Adam is resting on one arm and stretching out the other toward God, who, borne along by spirits, sweeps down encircled by a floating mantle as by a storm-wind. The Creator extends his right arm toward the man, drawing like a magnet Adam's left hand toward him and seeming to transmit from the divine hand the electric spark of life.
Apotheosis of these works of Michelangelo we seem to see an apotheosis of materialism, an idealization of the natural, the material subliiuie. Few during his lifetime understood his peculiar sym bolism, nor is it understood by any one at present. There is in his works a seeming contradiction, so that lie is claimed both by idealists and by realists. The ceiling of the Sistine Chapel gives the measure of his imagination and shows his unrivalled power of picturing before his mind an immense and complicated work, in which lie displayed his great qualities as archi tect, sculptor, and painter.
Raphael Sanzio of Urbino (1483-1520) was trained in the religious school of Umbria, but in his development received inspiration from the creations of most of the great artists who had preceded him. Though
not a great artistic creator like Leonardo and Michelangelo, lie gave to his works the inimitable grace and beauty which were essentially his characteristics through his entire career. His scope was broad, and included, besides innumerable religious paintings and works of pure imagination, subjects taken from ancient mythology and from history.
The large frescos of the Vatican, such as the Dispuie of the Sacrament or the of Athens, are perhaps the most powerful of his productions, and of his cartoons the most remarkable is that representing scenes in the lives of the apostles, by which, as by his Pattie (!/' constanrinc, Raphael opened the way to secular historical painting.
Another phase of Raphael's talent is shown in Figures 2 and 3 (p/. 32), taken from the arabesques which he and his pupils designed for the Loggie of the Vatican, and which have always remained models of Renaissance decoration of a character entirely pagan. In the centre the decoration is in broader and freer lines, Nvhile on each side is a border of more severe deign, in which a rich framework encloses a series of mythological scenes.
Raphael's series of Holy Families is exceedingly numerous. An example of his early style, the Madonna dei Tempi, one of the simplest renditions of the subject, is given in Figure S. In the entire series the utmost naturalism prevails. The Virgin is a young mother full of the natural feelings of an ordinary mortal, and in the chubby babe it is dif ficult to imagine the Saviour of mankind.
Era L'aricdourmeo.—Next to Raphael's picture, on the Plate, is a Ikcin and Child 7) by Fra Bartolommeo, also called Baccio della Porta (1475-1517). He was a contemporary of Raphael, by whom he was taught perspective and whom he initiated into many secrets of color ing. lie excelled in altar-paintings; his work is distinguished by a devout solemnity, which appears both in the composition and in the expression of the faces. Raphael evidently took the works of this artist as models.