ing to right reason and orthodox divinity, no notion of seniority; there being no conceivable distinction in this respect between the Father and the Son-between the Fountain Light of Being and the Eternal Emanation from his bosom. Nevertheless, such is the daring fashion in that church; and, as peculiarly common in the times of Raffaelle, it was adopted by him. Had the practice been allowable in any artist, it might have been excused in the son of Sanzio-the union of divine grandeur and infinite benevolence was as much within the scope of his powers, as within those of any artist that ever lived; consequently, if any may be said to have succeeded in an attempt which must ever defy human powers and natural means, we may award the praise to him. There is wonderful beauty and sublimity in some of the representations of this description, in the subjects from the Old Testament, done from Raffaelle's designs, on the compartments of the loggie of the Vatican. Still it is impossible to contemplate with entire satisfaction such of these awful delineations even as have proceeded from his inspired pencil.

Not so, in his representations of the Incarnate God-the Eternal, the Infinite, veiled beneath the final and finite. In the individual Divine Man,

the artist is supplied with a type, the existence of which withdraws all impropriety from the attempt; and if it be objected, that he has failed adequately to depict the Godhead, we answer- -to do so was not his object. He penetrates not below the covering of humanity, which hides the Omnipotent from mortal view. If upon its surface he can trace some faint touches of the latent glory, he attains not only all that he is warranted in attempting, but, perhaps, all which in reality the human form of the Son of God, during his residence on earth, itself displayed.

The "Christs" of Raffaelle are, upon the whole, more successful than those of any other artist: with reference to the above view of what is required, they may be regarded, perhaps, as perfect. The exquisite figure before the reader will justify this assertion. In both the action and form of our Saviour, we discover the usual felicity of the artist's genius. divine composure of Omnipotence exercising authority over nature, could scarcely be better expressed than in that simple and graceful posture in which he is seated, in the countenance radiant with benignity, in the lips, which, by their movement and their form, appear employed in modulating a voice

The

replete with sweet and gentle, yet powerful expression,-in that hand which wields the elements, gracefully raised in accordance with the words whereby he moderates the emotions of the agitated apostle. The character of the form and features, and even the drapery of Christ, are finely contrasted with those of his merely human companions. The head is in the most graceful style of masculine beauty: the delicate texture and flowing lines of the hair and beard harmonize delightfully with the sweetness and purity of every other part-even in these the divine superiority of the Friend of mankind is distinctly expressed

The man that shines as bright as God—not so,
For God he is himself, that close lies under

That man,

-so close, that no time can dissunder
That bond; yet not so close, but from him break
Such beams as mortal eyes are all too weak
Such sight to see-or it, if they should see, to speak.

His hair

-in small curls did twine,

As though it were the shadow of some light;
And, underneath, his face, as day, did shine-
But sure the day shined not half so bright;

Under his lovely locks, her head to shroud,
Did meek Humility herself grow proud :-
Hither, to light their lamps, did all the graces crowd.
GILES FLETCHER.

Next appears Peter-the strong and ill-considered exclamation," Depart from me!" has just escaped his lips, and he remains on his knees, his hands uplifted and his body bent towards Jesus. His countenance expresses mingled wonder, humility, awe, and adoration of a Being, whom, as manifestly more than human, he deems it dangerous for a mere mortal to converse with, or look upon. In the whole air and attitude of the figure, is denoted that precipitate temperament which caused this apostle to place himself foremost on all occasions-at least, till his deplorable failures subdued his forwardness, and the more cultivated endowments of St. Paul eclipsed the ardour of his zeal. We here see Peter, however, ere the call to the apostleship had passed upon him: as yet he is only

"The pilot of the Galilæan lake."

The rude simplicity of his attire—the muscular vigour of his limbs-even the crisp hair and roughened beard, no less than the natural energy of his look and demeanour, hitherto exalted by no conscious possession of authority, and refined by no familiarity with ideas beyond his education and employment, these all indicate, that we have before us the man of toilsome occupation, not the in

D

spired misionary; yet through all are revealed marks of a native grandeur, in which the future greatness of the apostle of the circumcision is not faintly discernible.

The third figure, which from its size and situation is as prominent as any in this noble group, no doubt represents Andrew, the brother of Peter. The same emotions, modified by a difference of natural character, appear also in him. Andrew is sedater and less excitable. With less of devotional feeling and a total absence of fear, he exhibits more collectedness and comparative reserve. Mixing with, however, if not predominant over every other feeling, we perceive actuating him a sense of grateful acknowledgment for the immediate benefit included in this miracle of benevolence, which in the case of Peter is suppressed or prevented, by loftier considerations. His deference to the Divine Person before him is rather submissive than devout: in his attitude and manner appear more of obedience and confidence than of awe and alarm. He is a copy of Peter-but milder and more graceful than his vehement brother, and discovering touches of a more genial nature. This fine figure is admirably conceived and skilfully drawn; the drapery, though not ample-which would have been