Raphael had a stepmother, Bernardina, the daughter of a goldsmith, a good and forceful woman, but not gentle like the first wife; and when Raphael was eleven years of age his father, too, died. By his father's will Raphael became the charge of his uncle Bartolommeo, a priest, but the property was left to the stepmother so long as she remained unmarried. Almost at once the priest and the stepmother fell to quarreling over the spoils, and thus Raphael was left pretty much to his own devices, but just when life began to look dark and sad for him, his mother's brother took a hand in the situation. He settled the dispute between the priest and the second wife, and arranged that Raphael should be placed in the studio of some great painter, for the loving lad had already worked in his father's studio, and had given promise of his wonderful gifts. So he became the pupil of Perugino, a painter noted for his fine colouring and sympathetic handling of his subjects. At that time, Italian schools were less wonderful in colouring than in other matters of technique.

"Let him become my pupil," said Perugino, when Raphael was brought to him and some of his work was exhibited; "soon he will be my master." A very different attitude from that of Ghirlandajo toward Michael Angelo.

Raphael and his master became friends and worked together for nine years.

His first work was not conceived until Raphael was seventeen. It was to be a surprise to his master who had gone to Florence. A banner was wanted for the Church of S. Trinita at Citta di Castello, and Raphael undertook it, painting the "Trinity," on one canvas and the "Creation of Man" on another. Then he painted the "Crucifixion," which was bought by Cardinal Fesch, who lived in Rome. That painting is now in a collection of the Earl of Dudley. It was sold away from Rome in 1845, for twelve thousand dollars--or a little more. No one will deny that this is an unusual sum for an artist's first work, but about the same time he did a much more wonderful thing.

He painted a little picture, six and three-quarter inches square. It was of the Virgin walking in the springtime, before the leaves had appeared upon the trees, and with snow-capped mountains behind her. She holds the infant Jesus in her arms while she reads from a small book, and the little child looks upon the page with her. This six inches of beauty sold to the Emperor of Russia, in 1871, for sixty thousand dollars.

Before Raphael was twenty-one, he had left his master's studio and had gone into the splendid world of Rome, where Angelo was straining at his bonds. But how differently each accepted his life! The gentle Raphael, who took the best of the ideas of all great painters, and gave to them his own exquisite characteristics, was beloved of all, shed light upon art and friends alike. To such a one all life was joyous. Michael Angelo, trying ever to do the impossible, betraying his hatred of limitations in all that he did, doing always that which aroused horror, distress, longing, elemental feelings, in those who studied his wonderful work, and giving hope and satisfaction and peace to none--to such as he life must ever have been hateful and painful. These men lived at the same time, among the same people.

One of Raphael's greatest pictures came into the possession of a poor widow, who being hard pressed by poverty, sold it to a bookseller for twelve scudi. In time it was bought from the bookseller by Grand Duke Ferdinand III. of Tuscany, who prayed before it night and morning, taking it with him on his travels. That picture is now in the Pitti Palace at Florence and it is called the "Madonna del Granduca." The Berlin Museum purchased a Raphael Madonna for $34,000 which was painted about the same time as these others, but after a little the artist left Florence where he had been studying the methods of Leonardo and Angelo and returned to Urbino, the home he loved, where his conduct was such that all the world seems to have become his lover. It is written that he was "the only very distinguished man of whom we read, who lived and died without an enemy or detractor!" No better can ever be said of any one.

While he dwelt in Perugia and Urbino he had painted the "Ansidei Madonna," so called because that was the name of the family for which it was painted. That Madonna was sold in 1884 to the National Gallery, by the Duke of Marlborough for $350,000. A Madonna on a round plaque-like canvas, 42-3/4 inches in diameter, was bought by the Duke of Bridgewater for $60,000. It is the "Holy Family under a Palm Tree," painted originally for a friend, Taddeo Taddei, who was a Florentine scholar. Many of the pictures which after many vicissitudes have landed far from home and been bought for fabulous sums were painted for love of some friend, or were paid for by modest sums at the time the artist received the commissions. Lord Ellesmere in London now owns the "Holy Family under a Palm Tree."

It is said of Raphael that whenever another painter, known to him or not, requested any design or assistance of any kind at his hands, he would invariably leave his work to perform the service. He continually kept a large number of artists employed, all of whom he assisted and instructed with an affection which was rather that of a father to his children than merely of an artist to artists. From this it followed that he was never seen to go to court, except surrounded and accompanied, as he left his house, by some fifty painters, all men of ability and distinction, who attended him, thus to give evidence of the honour in which they held him. He did not, in short, live the life of a painter, but that of a prince.

There is something wonderfully inspiring about such a life. We read of emperors and the homage paid to them; of the esteem in which men who accomplish deeds of universal value are held, but nowhere do we behold the power of a beautiful and exquisite personality and character, allied with a single art, so impressively exhibited.