able artists to copy the remains of antiquity at Pozzuolo, throughout all Italy, and even in Greece. It is also probable that he derived much assistance from living artists, whom he consulted in regard to his compositions. The universal esteem which he enjoyed, his attractive person, and his engaging manners, which all authors unite in describing as incomparable, conciliated the favor of the most eminent men of letters, as Bembo, Castiglione, Giovio, Navagero, Ariosto, Fulvio, Calcagnini, etc., who set a high value on his friendship, and were doubtless ready to supply him with many valuable hints and ideas.
RAFFAELLE AND MICHAEL ANGELO.
"Michael Angelo, his rival," says Lanzi, "contributed
not a little to the success of Raffaelle. As
the contest between Zeuxis and Parrhasius was beneficial
to both, so the rivalship of Buonarotti and
Sanzio aided the fame of Michael Angelo, and produced
the paintings in the Sistine chapel; and at
the same time contributed to the celebrity of Raffaelle,
by producing the pictures in the Vatican, and
not a few others. Michael Angelo, disdaining any
secondary honors, came to the combat, as it were,
attended by his shield-bearer, for he made drawings
in his grand style, and then gave them to Fra Sebastiano
del Piombo, the scholar of Giorgione, to execute;
and, by this means, he hoped that Raffaelle
would never be able to rival his productions, either
