RAPHAEL SANTI. 705 KAPHIDES. clouds, which are themselves composed of the heads of thousands of cherubs. The Christ-child looks with thoughtful eyes, as if conscious of his destiny as a Saviour of the world, while on either side Saint Sixtus and Saint Catherine kneel in adoration. At the base of the picture are the two celebrated cherubs. His other religious pictures typif' the waking religious consciousness of Italy in reply to the Eeformation of the Xorth : "Lo Spasimo di Sicilia"' (Christ sinking beneath the Cross) (Madrid): 'The Vision of Ezekiel" (Pitti Palace), minute in execution and beautiful in color: the celebrated "Saint Cecilia" (1515, Bologna ) , surrounded by four saints, listening with varied expressions of ecstasy to the heavenly chords: "Saint Michel Crushing Satan" (1518, Louvre) ; and "The Transfiguration" (Vatican), left unfinislied at Raphael's death, and completed by Giulio Romano. As an architect Raphael was not of the same importance as a painter. He was a disciple of Bramante, whose plan of Saint Peter's he continued, though he also had one of his own. (See Saist Peter's Church.) The Farnesina is usually ascribed to Peruzzi. and of his other palaces the Palazzo Pandolfini at Florence is the only one carried out in accordance with his plans. His chief work, the Villa Madama, built about 1516 for Cardinal Giulio de' Medici, dis- plays forms of simple majesty. As a sculptor he is reputed to have carved the "Boy Astride of a Dolphin" (Saint Petersburg), but the at- . tribution is doubtful. He also tried his hand at poetry, but his few sonnets are amateur in char- acter. Raphael died on Good Friday (April 6), 1520, at the age of thirt.v-seven, as a result of a fever contracted during the excavations in Rome. All Rome mourned over his loss, and he was interred with great honor in the Pantheon. His char- acter, like his art, was a perfect hanuony of the elements which go to make life beautiful, and his contemporaries valued the one as highly as the other. ITie opinion of Raphael's contemporaries, that his work was the highest perfection of pictorial art, has met with dissent among certain modern artists and critics, who find him lacking in tliis oi that technical quality. But while he did not attain the very higliest in all technical qualities, perhaps no other man possessed in such a high degree so nian.v qualities which go to make up the perfect artist. His work embodies the best of all the Middle Italian schools, and it is, in this sense, tlic culmination of Italian painting. To whatever lie ailopted he added a harmony and grace, distinctly his own, attaining the nearest to the universal of an.v artist since the Greeks. And in one purely technical quality Raphael has never been surpassed by any artist. In his small pictures as well as in his great fres- coes, in arrangement as well as in the treatment of space, his composition is faultless. The chief cause of Raphael's gi-eat popularity with the general public is that he was what Berenson calls 'a lovable illustrator.' ^'ith an imagination that has never been surpassed, he has, better tlian an.v other one. embodied our conception of antiquity, translating it into forms surpassing our fairest dreams. He has Hellenized the Hebraic universe, creating, in place of the stem personages of the Old and Xew Testament, those beautiful, ideal types which will last as long as art lasts. In his iladonnas and ideal figures he has created the types of womanhood which "embody for the great number of culti- vated men their ideals and spiritual aspirations." BiBLiOGRAPHT. The chief original source of in- formation remains the biography of Va.sari (ed. Milanesi, Florence, 1878; English translation by Blashfield and Hopkins, Xew York, 1890). The biographies of the eighteenth and early nineteenth centuries are antiquated, except those of Rumohr (Berlin, 1831), and Passavant (Leipzig, 1839; Eng. trans., London, 1872), which contains a valuable catalogue of Raphael's works. The numerous volumes of Gruyer (Paris, 1804, et seq. ) are full of copious information. Other biographies are those of Wolzogen (Leipzig, 1865; Eng. trans., London, 1866) ; Forster (Leip- zig. 1867); Grimm (ib., 1872; Eng. ed., Boston, 1888) ; Perkins (ib., 1878) ; Liibke (Dresden, 1882) ; Minghetti (Bologna, 1885) ; Riepenhausen and Dohme (Berlin, 1888) ; Clement (Paris, n. d.) ; Liitzow (Vienna, 1891): Cartwright (Lon- don, 1895) ; Knackfuss (Leipzig, 1805) ; and Strachey (London, 1900), The most important modern works are those of Anton Springer (Leip- zig, 1878), a scientific, appreciative, and impar- tial production; Eug6ne jliintz (Paris, 1881), remarkable for its illustrations ; Crowe and Caval- caselle (London 1882), erudite and careful. The best technical criticisms on Raphael's early pe- riod, and, indeed, on many of his later works, are those of Morelli, in his Italian Masters (London, 1892-93), who has almost revolutionized current opinion. For his early period consult also monographs of Seidlitz (Jlunich, 1891) and Gronau (Berlin, 1902) ; for a good characteriza- tion and list of Raphael's works, Berenson, Central Italian Paintrrs (Xew York, 1897) , For his architectural works, consult: Pontani (Rome, 1845) ; Geymiiller (Milan, 1883) ; and Hofmann and Bloch (Dresden, 1900). For his drawings, see the studies of Koopraann (Marburg, 1895-97) and Fischell (Strassburg, 1898). BAPHANIA. Another name for Ergotism (q.v.). RAPHELENGH, ra'fa-leng', or KAPHE- LING, Francis (1539-97). A Flemish scholar and printer, born at Lannoy, in French Flanders. He studied classical and Oriental languages in Paris, and afterwards taught Greek at Cam- bridge, fpon his return to the Xetherlands in 1505, he entered the printing ofllce of Christopher Plantin, in Antwerp, where he did valuable edi- torial work, and supplied original matter for books, in the form of notes and prefaces. He also worked on the Polyglot Bible, printed at Antwerp in 1571, by order of Philip II. of Spain. Afterwards he was appointed professor of Hebrew and Arabic at the University of Leyden. He published a Hebrew grammar and Chaldee and Arabic dictionaries. RAPHIDES, raf'i-dez(X'eo-Lat. noni. pi., from Gk. paols, rhaphis. needle, pin, from pairreiv, rhap- tein, to sew). Elongated, needle-shaped parallel crystals of calcium oxalate occurring in plants. It has been claimed that the.v protect plants against herbivorous animals, but investigation shows that injuries follow the eating of plants containing them. Raphis-bearing cells are found in great quantities in the parenchyma of mon-
