11 A P 



burial to take place in the Pantheon (the church of Santa 

 Maria Rotunda), where a monument Hill remains to his 

 honour. He died on the fame day of the year on which he 

 was born, Good Friday, in 1520, at the age of 37, deeply 

 lamented by all who knew his value. His body lay for a 

 while in flate, in one of the rooms wherein he had difplayed 

 the powers of his mind, and he was honoured by a public 

 funeral ; his laft produce, the Transfiguration, being carried 

 before him in the proceilion : and, that Rome miglit not be 

 deprived of io noble a memorial of tliis extraordinary man, 

 it was placed by the cardinal de Medici in the church of St. 

 Pietro a Montorio, inllead of being lent to France, as was 

 originally intended. 



Mr. Fufeli, in his edition of Pilkington, has given fo dif- 

 criminating and jn(l an idea of the peculiar excellencies of 

 Raphael, that we fhall conclude our hillory of him by quot- 

 ing it. " The general opinion lias placed Raphael at the 

 head of his art, not becaufe he pofieded a decided fuperiority 

 over every other painter in every branch, but becaufe no 

 other artiil ever arrived at uniting with his own peculiar ex- 

 cellence all the other parts of the art in an equal degree with 

 him. 



" The drama, or in other words the reprefentation of cha- 

 rafter in conflift with paflion, was his fphere ; to reprefent 

 this, his invention in the choice of the moment, his compofition 

 in the arrangement of his aftors, and his exprellion in the 

 dehneation of their emotions, wei-e, and are, and perhaps 

 will be unrivalled. And to this he added a itylc of defign 

 diftated by the fubjett itfelf, a colour fuited to the fubjeft, 

 all the grace which propriety permitted, or fcntiment lug- 

 gelled, and as much chiaro-fcnro as was compatible v\'ith 

 his fupreme defire of pcrfpicuity and evidence. It is there-. 

 fore only when he forfook the drama, to make excurfions 

 into the pure epic or fublime, that his forms become inade- 

 quate, and were mferior to thofe of M. Angelo : it is only 

 in fubjetls where colour from a vehicle becomes the rulisg 

 principle, that he is excelled by Titian ; he yields to Cor- 

 reggio only in that grace and that chiaro-lcuro which is 

 lefs the miniller of propriety and fentiment, than its charm- 

 ing abufe, or voluptuous excefs ; and which facrifices to the 

 eye what was claimed in vain by the mind. 



" Michael Angelo appears to have had no infancy : if he 

 had, we are not acquainted with it : his earlieft. works equal 

 in principle and elements of llyle the vigorous offsprings of 

 his virility : Raphael we fee in his cradle, we hear him itam- 

 mer : but propriety rocked the cradle, and charafter formed 

 his Jips. Even the trammels of Pietro Perugino, dry and 

 iervile in his llyle of defign, formal and gothic in his com- 

 pofition, he traced what was eflential, and feparated it from 

 what was accidental, in figure and 'fubjci^t. The works of 

 Lionardo, and the cartoon of Pifa, invigorated his eye, but 

 it was the antique that completed the fyllem which he had 

 begun to ellablilh on nature. From the antique he learned 

 difcrimination and propriety of form. He found that in the 

 conllruCtion of the body, the articulation of the bones was 

 the true caufe of eafe and grace in the aftion of the limbs, 

 and that the knowledge of this was the true caufe of tJie 

 fuperiority of the antients. He difcovered that certain fea- 

 tures were fitted for certain exprefhons, and peculiar to cer- 

 tain characters : that fuch a head, inch hands, and fuch 

 feet, are the itamen or the growth of fuch a body, and on 

 phyfiognomy eftablilhed uniformity of parts. When he de- 

 iigned, his attention was immediately direfled to the primary 

 intention and motive of his figure, next to its general mea- 

 fure, then to the bones and their articulation, from them to 

 the principal mufcles or thofe eminently wanted, to their at- 

 tendant nerves, and at laft to the more or Icfs ellential 

 Vol. XXIX. 



II A P 



minutia: ; but the charafter part of the fobjeft is infallibly 

 • tile charatlorilUc part of his defign, whether it be a rapid 

 fkctch, or a more linidied drawing. The Rrokcs of his pen 

 or pencil themfelves are charaderiftic : liiey foll(jw the di- 

 rection and texture of the part ; ficfti in their rounding, 

 tendons in flraight, bones in angular lines. 



" Sucli was the felicity aud propriety of Raphael, when 

 employed in the dramatic evolutions of cliaradler ! both fuf- 

 fered when he attempted to abftraft the forms of fublimity 

 and beauty ; the painter of humanity, not often wielded 

 with fuccefs fuper-human weapons. His gods never rofe 

 above prophetic or i>atriarchal forms ; if the finger of Mi- 

 chael Angelo imprelTed the divine countenance oftener with 

 fternneis tliaii awe, the gods of Raphael are fometimes too 

 affable or mild, like him who fpeaks to Jacob, in a ceiling 

 of the Vatican ; or too violent, like him who feparates light 

 from darkncfs, in the loggia of the fame place. But 

 thougli, to fpeak with things, he was chiefly made to walk. 

 with dignity.on earth, he foared above it in the conception 

 of Chrill on Tabor, and dill more in the frown of the an- 

 gelic countenance that witliers the llrength of Heliodorus. 



" Of ideal female beauty, though he himfelf, in his letter 

 to count Caftiglione, tells us, that from its fcarcity in life, 

 he made attempts to reach it by an idea formed in his ow^ 

 mind, he certainly wanted that dandard which guided him 

 in charafter : his goddcdes and mythologic females arc no 

 more than aggravations of the generic forms of Michael 

 Angelo. When the drama infpircd Raphael, his women 

 became definitions of grace and pathos at once. Such is 

 the exquifite line and turn of the half-averted kneeling 

 female with two children, among the fpecfators of the 

 punidiment inflifted on Heliodorus ; her attitude, the turn 

 of her neck, fupplies all face, and intimates more than he 

 ever exprefied by features." 



Raphael, in Geography, a fertile and healthy diftricl, 

 being the vvefliernmoft in the Spanidi part of St. Domingo. 

 Its northern boundary is found in part of the French 

 paridi Gonfalves. The air round St. Raphael in very fa- 

 lubrious, but the town, which is in a hollow, is very hot; 

 10 leagues S. of Cape Frangois. 



Raphael, Si., Cape, lies at the S. end of St. Domingo, 

 and is the S.E. hmit of Samana bay. 



RAPHANEA, in ^Indent Geography, a city of Syria, 

 between which and Area, or Arac, a city of Judca be- 

 longing to the kingdom of Agrippa, the Sabbatical river 

 flowed. Jofeph. de Bell. 1. vii. c. 24. Raphanea is, per- 

 haps, the Arpal of fcripture. 2 Kings, xviii. 34. xix. 13. 

 If. x. 9. xxxvi. 19. xxxvii. 13. Jerem. xhx. 23. 



RAPHANIA, in Medicine, an appellation given by 

 Linnsus, and afterwards by Dr. CuUen and others, to a 

 fevere and fatal difcafe, which has been defcribed as epi- 

 demic in Sweden at particular feafons, and imputed to the 

 ufe of the raphaiuis raphaniftrum of Linna;us as food. 



It is not necefl'ary to defcribe the I'ymptoms of this dif- 

 eafe in this place ; lince it is, in faCt, the fame malady which 

 has been epidemic in various other countries of Europe, 

 during feafons of fcarcity ; and has been attributed to va- 

 rious other fpecies of unwholefome grain, but more efpe- 

 ciafly to difeafed rye, affefted with the ergot, to the lolium 

 temulentum, to charlock, &c. We have already entered at 

 great length into the hiftory of the fymptoms and imputed 

 caufes of this formidable malady, which has been more com- 

 monly denominated ergot, from one of its fuppofed fources. 

 (See EuGOT.) We have endeavoured alfo to diew, that it 

 conilituted one of the varieties of epidemic difeafe, defcribed 

 by the ancients, under the appellation of Ignis Saeer (which 

 fee) ; and that, inilead of being properly imputed to the 

 ^ K adiuii^turc 



