be identified, and, illustrious as were many of his pupils, his own death marks the lading hour o," the Roman school. ( If all the Roman painter-, it was Raphael alone who made his works not less the expression and measure of all the knowledge, philosophy, ami poetry id' his time than witnesses to hi- genius and vouchers for what we call the immortality of his fame. He achieved the labors of a demigod; his successors wrought like mere men. Raphael had scarcely reached his prime when a sudden attack of fever carried him oil', on the anniversary of hi- birth, in 1520. -The works of Raphael are generally divided into three classes: his first style, when under the influence of Perugino's man- ner; hi- second, when he painted in Florence from 1504 to 1508; and his third style, which is distinguishable in the works executed bj him all. r he settled in Rome. Each of these styles has il- devoted admirers. Those
who incline to art employed in the service of religion prefer the lirst manner, as embodying purity and relig- ious feeling. His last manner, perfected when the taste for classical learning and art was Btrongly excited by the discovery of numerous valuable works of the classic period, is held by many connoisseurs as correctly em- bodying the highest an: while hi- middle, or Floren- tine, style is admired by some as exemplifying his pow- ers freed IV whal they deem the rigid manner of Pe- rugino, and untainted by the conventionalism of , lassie art. In all these different styles he his \, ,f| works of great excellence. The Coronation ofth Virgin, in the gallery of the Vatican, and the Sposalizio, or Marriage of the Virgin, in the Brera Gallery at Milan, which is an improved version of Perugino's Sposalizio, painted in 1 1:95 lor the cathedral of Perugia, belong to the first period. The s/. Catharine, in the National Gallery, London; the i'.itionihuK at. in the Borghese (iallerv. Home; La Belle Jardiniere, in the Louvre, belong to his second period. The St. Cecilia, a) Bologna; the Mml, miKi di San Sisto, at Dresden; the Cartoons, at Hampton Court: the Transfiguration, and all the Vat- ican frescos, except Theology, <>r tfo DispuU on the Si u -11111,, „/. the first he executed on his arrival from Florence, are in his third manner, or that which pecul- iarly marks the Roman school in its highest develop- ment" i('hambers). The two great Madonna- ol Ra- phael are the Madonna della Sedia and the Madonna di. San Sisto. The former, which is at the I'itti Palace, Florence, i-. according t<> critical standards, nol so per- fect a- others ol the same painter which have failed to obtain universal popularity. Bul as a representation of the Roman view of the Holy Family, nothing could be more beautifully expressed, We see only a happy mother Lending over the lovely child in the intensity of her affection and content, while the babe looks forth fr the picture with a strange -lance of conscious su- periority. The Madonna di San Sisto cannot he de- scribed, and no copies of ii. photographs or engravings. Can convey a correct idea. In this work Raphael reached the perfection of his type, humanity raised to divinity. The grace and beauty of the Virgin seem aparl from and above earthly associations. In the sol- emn, thoughtful, yet childlike expression id' the infant
Christ there is the foreshadowing of the sufferer, the Saviour, and the Judge. Ii is singular thai not until 1827, when the picture was cleaned, were the innumer- able heads of angels surrounding the Virgin discovered. The Transfiguration, which was Raphael's last and also hi- greatest work, he hit unfinishi d. Ii seems as if be
had labored while already on the way to heaven, and we do not wonder thai Vasari. in his ecstasy of JOJ over
this work by human hands, wiih so much of heavenly skill in ii. is led to exclaim, " Whosoever shall desire to see iii what manner < hrisl transformed into tin. God- head -lendd he rcpresi ni,d. hi lnm come and behold it in this picture." "Raphael," says Lanzi, -is by < i-
n .on-, nl placed al the head of his arl. nol because
he excelled all others in every department of painting,
Liu i.. .an-. ■ no oiii.r artist has ever possessed the van-
RAPIIAH
911
RAPPISTS
ous parts of the art united in so high a degree." See. besides Yasari and Lanzi, Robertson, The Great Painters ofCh ristendom (published by Cassell, Lond. and N. Y., and handsomely illustrated), p. 79-95 ; Radcliffe, Schools and Masters of Painting (N. Y. 1877, 12mo), ch. viii et al.; Mrs. Clement, Painters, etc. (ibid. 1877, 12mo), p. 473-485; Duppa, Life of Raphael (in Engl., Lond. 1815); Wolzo- gen, Raphael (tr.by Burnett, ibid. 1806); Quatremere de Qnincy, Vie. de Raphael (tr. into Engl, by llazlitt, 1846; ; Perkins, Raphael and Michael Angelo (Lond. and Bost. 1878) ; Lond. Quar. Rev. April, 1870. (J. H. W.) Ra'phah (1 Chron. viii, 2). See Kapha. Raph'aim ('Paipatv, but some MSS. omit), a name given (Judith viii, 1) as that of the son of Gideon and lather of Aeitho in the ancestry of Judith. It is evi- dently^C^XSI, Rephaim (q. v.).
Raphall, Morris Jacob, a Jewish rabbi, was born at Stockholm, Sweden, in September, 1798. He was educated at the Jewish college of Copenhagen, and was so precocious that in his thirteenth year he received the Hebrew degree of Chabir Socius (analogous to the • fellowship" of the English universities), which enti- tled him to the honorable designation of Rabbi. In 1812 he went to England, where he remained for six years, devoting himself to the study of the English lan- guage. The next six years he spent in travelling and studying in Europe. On his return to England in 1825 he married, and took up his residence in London. In 1832 he gave some lectures on the Biblical poetry of the Hebrews, and in 1834 commenced the publication of the Hebrew Review, the first Jewish publication ever issued in England. When this had reached its seven- ty-eighth number, ill-health compelled him to relin- quish it. In 1840 he acted as secretary of Ur. Solomon Herschel, the chief rabbi of London, and in 1841 he was appointed rabbi preacher of the synagogue at Birming- ham, England. He was also the chief instrument in founding the first national school in England for the Jews, of which he acted as head master. In 1849, hav- ing previously received the degree of Ph.D. from the University of Giessen, he was called to New York as rabbi preacher to the Anglo-German congregation B'nai Jeskurun, where he died, June 23, 1868. His main work is his Post-Biblical History of the Jews (N. Y. 1806, 2 vols.), and the translation of Eighteen Treatises of the Mishna, in connection with D. A. de Sola (2d ed. Lond. 1845). Besides, he translated into English from the works of Maimonides, Albo, and Wessely, which trans- lations are found in the Hebrew Review. (B. P.)