Ra'phael ('P«^«//\=bX£"\ "the divine healer"), "one of the seven holy angels which ... go in and out before the glory of the Holy One" (Tob. xii, 15). Ac- cording to another Jewish tradition, Raphael was one of the ./bar angels that stood round the throne of God — Michael, Uriel, Gabriel, Raphael. His place is said to have been behind the throne, by the standard of Ephraim (comp. Numb, ii, 18) ; and his name was in- terpreted as foreshadowing the healing of the schism of Jeroboam, who arose from that, tribe (1 Kings xi, 26, see Buxtorf, Lex. Rabb. p. 47). In Tobit he appears as the guide and counsellor of Tobias. By his help; Sara was delivered from her plague (Tob. vi, 16, 17), and To- bit from his blindness (xi, 7, 8). In the book of Enoch he appears as " the angel of the spirits of men" (xx, 3; comp. Dillmann, ad loc). His symbolic character in the apocryphal narrative is clearly indicated when he describes himself as "Azarias the son of Ananias" (Tob.
RAPHAEL
010
KAP1IAEL
v, 12), the messenger of the Lord's help, springing from the Lord's mercy. See ["obit. The name, in its Heb. form, occurs in 1 Chron. x.wi. 7 as that of a man, — Smith. See Rephael.
Raphael, m. i L&LSanctus Raphael; Iial. San Raf- faello : Fr. St. Raphw I ; < 5erm. />> r ll< iligt Rafm I), the same with the above, is considered the guardian angel of humanity. He was sent to warn Adam of the danger of sin, and its unhappy consequences. "Be strong, live happy, and love! hut first of all ]lim whom to love IS to obey, and ki His °rreai command. Take need lesl passion Bway Thy judgment to do aught which else free-will W.»uid nol ndmit. Thiue and of all thy bous The weal or woe in thee is placed. Beware I" (Milton).
He was the herald who bore to the shepherds the "g 1 tidings of great joy which shall be lor all peo- ple." He is especially the protector of the young, the pilgrim, and the traveller. In the apocryphal romance. his watchful care ol I he young Tobias during bis e\ ent- fuljournej i- typical of his benignity and loving con- descension inwards those whom he protects. His coun- tenance is represented as full of benignity. Devotional pictures portray him dressed as a pilgrim, with sandals ; his hair hound with a diadem or a lillei : the staff in his hand, and a wallet, or panetikre, hung to his belt. As a guardian spirit, he bears the sword and a small cas- ket, or vase, containing the "fishy charm" (Tob. vi, 6) againsl e\ il spirits. Asguardian angel, he usually leads Tobias. Murillo's painting, in the Leuchtenberg Gal- lery, represents him as the guardian angel of a bishop who appears as a votary below. St. Raphael is com- memorated in the ( liurch of Rome on Sept. 12.
Raphael, or Raffaello Santi or Sanzio, called by his countrymen "II Divino" i. e. -the Divine," is ranked by almosl universal opinion as the greatest of painters. He was certainly the Sophocles of the glori- ous art of form and color. He was born at Urbino April 6, L483. In 1497, on the death of his father, Giovanni Santi, who was his lirst instructor, he was placed under Pietro Perugino (q. v.), the most distin- guished painter of the period, who was then engaged on important works in the city of Perugia. The pro- found feeling, the mystic ecstasy, which characterized the Hmbrian school while yet under the leadership of ii- founder, the Perugian, and before il degenerated into the mannerism and facile manufacture at which .Mi- chael Angelo sneered, look possession of the soul of Raphael. He soon acquired a wonderful facility of ex- ecution, lie showed such -real taleni thai Perugino employed him on his own works; and so well did he perform his task thai it is difficult now to separate the work of the master from that of the pupil. In 1504 Raphael visited Florence, and improved his style by studying composition and expression in the works of Masaccio, the sweet and perfeel modelling of Leonardo da Vinci, and color and effeel in those ol Fra Bartolo- meo. lie seems to have lived in Florence till 1508, when he went to Rome, on the invitation of pope Julius II. His celebrated frescos in the Vatican, and numer- ous important works, were then commenced. Julius died in 1513, bul his successor. Leo X. continued Ra- phael's services, and kepi his great powers constantly in
Raphael and Rome are M i j ,, 9 terms in
the history of Italian art of the 16th century. Though Michael Angelo labored at Rome, and the impress ol bis genius is everywhere in the avenues of Roman art,
yet by common consent the Roman scl 1 ofarl owes
its origin and life to Raphael. It becamethe grandest of all the Italian schools of painting, ami gave concrete reality to the aspirations and longings of iii> predeces- sors bj • i , heighl all hut ultimate. The Roman -■ | the virility and boldness of with the simplicity and the devotional Bweet- ness oi rjmbria and Siena; in short, all Italian excel- lences Raphael gathered in his Roman creation; bul with the ani t who gave il birth the school alone can