st grew his "_Galatea_,"
which he painted for a wealthy nobleman of his acquaintance. In this
picture Galatea sails over the sea in her shell-boat drawn by
dolphins. She gazes into heaven and seems unconscious of the nymphs
sporting about her.

[Illustration: GALATEA. _Raphael._]

Speaking of Raphael's use of mythological subjects, though not quite
in the order of time, we may here mention his frescos illustrating the
story of Cupid and Psyche, painted on the walls and ceiling of the
same nobleman's palace, the Chigi palace. The drawings for these
pictures were made by Raphael, but most of the painting was done by
his pupils. As we study these pictures of the joys and sorrows of this
beautiful pair, we are interested, but we regret that our
angel-painter was willing, even for a short time, to leave his own
proper subjects, the religious. We feel like saying, "Let men who know
not the depth of religious feeling, as did Raphael, paint for us the
myth and the secular story, but let us save from any earthly touch our
painter of sacred things."

In 1513 the great Julius died, and Leo X., a member of the famous
Medici family of Florence, succeeded to his place. Raphael was in the
midst of his paintings in the Vatican, and for a time it was uncertain
what the new Pope would think of continuing these expensive
decorations. Though lacking the energy of Julius, Leo continued the
warrior-pope's policy regarding art works. So Raphael went on
unmolested in his work, with now and then a great commission added.

During the life of Leo the power of the Church sunk to a low level,
and yet the angel-painter of the Vatican pursued in peace the
composition and painting of his lovely works.

The "_St. Cecilia_" was a very important work painted about the time
of Julius' death. It was painted for a wealthy woman of Bologna to
adorn a chapel which she had built to St. Cecilia, the patroness of
music. She had built this chapel because she thought she heard angels
telling her to do it; in other words she had obeyed a vision.

In the picture the saint stands in the centre of a group made up of
St. John, St. Paul, St. Augustine, and Mary Magdalene. She holds
carelessly in her hands an organ from which the reeds are slipping.
What charms can even her favorite instrument have for her when streams
of heaven's own music are reaching her from the angel choir above?
Every line of face and figure shows her rapt attention to the
celestial