of one of them is the Galatea, and in quite a different form
of industry, the datum [54] for the beginnings of a great literary work
of pure erudition. Coming to the capital of Christendom, he comes also
for the first time under the full influence of the antique world, pagan
art, pagan life, and is henceforth an enthusiastic archaeologist. On
his first coming to Rome a papal bull had authorised him to inspect all
ancient marbles, inscriptions, and the like, with a view to their
adaptation in new buildings then proposed. A consequent close
acquaintance with antiquity, with the very touch of it, blossomed
literally in his brain, and, under his facile hand, in artistic
creations, of which the Galatea is indeed the consummation. But the
frescoes of the Farnese palace, with a hundred minor designs, find
their place along that line of his artistic activity; they do not
exhaust his knowledge of antiquity, his interest in and control of it.
The mere fragments of it that still cling to his memory would have
composed, had he lived longer, a monumental illustrated survey of the
monuments of ancient Rome.

To revive something of the proportionable spirit at least of antique
building in the architecture of the present, came naturally to Raphael
as the son of his age; and at the end of another of those roads of
diverse activity stands Saint Peter's, though unfinished. What a proof
again of that immense intelligence, by which, as I said, the element of
strength supplemented the element of mere sweetness and charm in his
[55] work, that at the age of thirty, known hitherto only as a painter,
at the dying request of the venerable Bramante himself, he should have
been chosen to succeed him as the director of that vast enterprise!
And if little in the great church, as we see it, is directly due to
him, yet we must not forget that his work in the Vatican also was
partly that of an architect. In the Loggie, or open galleries of the
Vatican, the last and most delicate effects of Quattro-cento taste come
from his hand, in that peculiar arabesque decoration which goes by his
name.

Saint Peter's, as you know, had an indirect connexion with the Teutonic
reformation. When Leo X. pushed so far the sale of indulgences to the
overthrow of Luther's Catholicism, it was done after all for the not
entirely selfish purpose of providing funds to build the metropolitan
church of Christendom with the assistance of Raphael; and yet, upon
another of