In No. 273 of the Mirror, P.T.W. has noticed the Cartoons of Raphael; and I therefore solicit the reader’s attention to the subjoined remarks on that master’s unsurpassed genius.

Raphael Sanzio d’Urbino was the pupil of Pietro Perugino, but afterwards studied the works of Leonardo di Vinci and Michael Angelo.  He excelled every modern painter, and was thought to equal the ancients; though he did not design naked figures with so much knowledge as Michael Angelo, who was more eminently skilled in anatomy; neither did he paint in so graceful a style as the Venetians; but he had a much more happy manner of disposing and choosing his subjects than any other artist who has lived since his time.  His admirable choice of attitudes, ornaments, draperies, and expression, can surely never be equalled by the most successful aspirant in the fine arts.  He has an undisputed title to the prince of painters; for, notwithstanding his premature death, he produced the most enchanting representations of the sublime and beautiful.  A painter will ever derive much benefit from the study of all Raphael’s pictures; especially from the Martyrdom of Saint Felicitas; the Transfiguration; Joseph explaining Pharaoh’s Dream; and the School of Athens.  Among the wonders of art with which the School of Athens abounds, we may select that of four youths attending to a sage mathematician, who is demonstrating some theorem.  One of the boys is listening with profound reverence to the reasoning of his master; another discovers a greater quickness of apprehension; while the third is endeavouring to explain it to the last, who stands with a gaping countenance, utterly unable to comprehend the learned man’s discourse.  Expression, which was Raphael’s chief excellence, and in which no other master has well succeeded, may be seen in the above picture to perfection.  Besides his grand historical works, he executed portraits in a good style; and was also an admirable architect.  In person, he was handsome, and remarkably well made, his manners being polite and unaffected.  He never refused to impart to others what he knew himself; by which conduct he became esteemed in private, as much as he was adored in public.

This master’s grand works are principally at Rome, in the Vatican; in the palace, Florence; Versailles; and the Palais Royal, France; the king’s collection, Naples; and in the apartments at Hampton Court Palace.  His best scholars were Julio Romano, Polydore, Giovanni d’Udine, and Gaudenzio, to all of whom he communicated the grand arcana of his wonderful art.

G.W.N.

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RETROSPECTIVE GLEANINGS.

Letter from the Princess, afterwards Queen, Elizabeth, to her sister, Queen Mary, on her being ordered to the Tower, in consequence of a suspicion that she was connected with Wyat’s rebellion:—­