nother house, the rent of which
should pay for twelve masses to be said monthly, for the repose of his
soul, from the altar near his grave; this was observed until 1705, when
the income from the house was not enough to support these services.

For many years there was a skull at the Academy of St. Luke, in Rome,
which was called that of Raphael; but there was no proof of this, and in
1833 some antiquarians received the consent of the Pope to their searching
for the bones of Raphael in his grave in the Pantheon. After five days of
careful work, and removing the pavement in several places, the skeleton of
the great master was found, and with it such proofs of its being his as
left no room for doubt. Then a second great funeral service was held; the
Pope, Gregory XVI., gave a marble sarcophagus in which the bones were
placed, and reverently restored to their first resting-place. More than
three thousand persons were present at the service, including artists of
all nations, as well as Romans of the highest rank. They moved in
procession about the church, bearing torches in their hands, and keeping
time to beautiful chants from an invisible choir.

[Illustration: FIG. 44.--SAINT CECILIA LISTENING TO THE SINGING OF ANGELS.
_By Raphael._]

Raphael left two hundred and eighty-seven pictures and five hundred and
seventy-six studies and drawings, and all done in so short a life. In
considering him and the story of his life, we find that it was not any one
trait or talent that made his greatness; but it was the rare union of
gifts of genius with a personal charm that won all hearts to him. His
famous picture of "St. Cecilia," with its sweetness of expression and
lovely color--its union of earthly beauty with spiritual feeling, is a
symbol of the harmonious and varied qualities of this prince of painters
(Fig. 44).

GIULIO ROMANO (1492-1556) was the favorite pupil of Raphael, and the heir
of a part of his estate; but his remaining works would not repay us for a
study of them.

Of course, the influence of so great a master as Raphael was felt outside
of his own school, and, in a sense, all Italian art of his time was
modified by him. His effect was very noticeable upon a Sienese painter,
BAZZI, or RAZZI, called IL SODOMA (1477-1549), who went to Rome and was
under the immediate influence of Raphael's works. He was almost unrivalled
in his power to represent beautiful female heads.

His important works were frescoes, many of wh