contemporary greatness; there were those who maligned Wallace, Hampden, and Washington-shall Garibaldi escape? With his sword he has served Italy-served her well-he will be long and effectually remembered as one of the few honest men who have battled for her freedom with a pure and simple love of liberty. The personal appearance of Garibaldi is much in his favour. He looks like a hero. He has a bright cheerful expression; the colour of his skin and hair betoken a sanguine temperament; there is not the least approach to wildness or fierceness about his countenance. He looks intelligent, earnest, benevolent, and affable. He has a fine head, but not very massive-a large, but by no means a broad face; his hair is brown-red, and has been rich and glossy; his eyes are light-grey; his voice, clear, ringing, silver toned; and nothing can exceed the freedom, gentleness, and ease of his address. What this man has done for his country, for liberty, and for civilization, will be written in the page of history, and will be read and understood long after the writer and the readers of this little record of his will have passed away. He came upon the Italian people, with his lofty virtue, his wise counsel, and his liberating sword, like a herald of a new existence, and his advent was hailed by his countrymen as the approach of a vessel is hailed by shipwrecked mariners on a desolate shore. RAFFAELLE-MICHAEL ANGELO-CERVANTES-WREN-SCOTT MOZART. In this chapter we group together six famous men-men who have distinguished themselves prominently in Fine Art and Literature-Painters, Sculptors, Architects, Composers, Novelists. Scott with his broad-humoured face, Cervantes, with trim beard and Vandyke collarAngelo and Raffaelle-Italian princes of the sixteenth century-Wren, with his plans rejected two centuries ago but now how gladly adopted!—and Mozart flooding the air with melody-here are these men speaking to us from the glowing canvas, from the marble that wants nothing but warmth and breath to make it live, from gorgeous fabrics dedicated to God-from harmonies that seem but echoes of heaven-from the storied page which now calls up the smile and now the tear in strangest wizardry. First we turn towards the painter Raffaelle. Raffaelle, a great man-prince of painters, admired and envied of his contemporaries-the cynosine of all eyes, the painter for all men and for all time. His whole life was devoted to art. He was the only son of Giovanni Sanzio, an ordinary artist of Urbino, and was born on Good Friday, March 28, 1483. His father instructed him in the rudiments of art, and he afterwards became the pupil of Petro Vanucei, (Perugino), who at once detected his genius. Raffaelle was an ardent student, he applied himself with diligence to the acquisition of the rules of art, and so closely imitated the style of Perugino, that it was difficult to distinguish between their works. When he was sixteen years old he began to execute original designs for churches and private gentlemen. For the Convent of Evernitani, he painted a picture of the Crowning of the Virgin; for the Dominican church at Cittá di Castello, a crucifixion; and for the Church of St. Francis, at the same place, a Marriage of the Virgin; all of which laid the foundation of his future fame, although in these early productions the style of Perugino is strikingly observable. Not long after the completion of the last-mentioned picture, Raffaelle, in conjunction with his fellow pupil, Pinturicchio was employed by Cardinal Piccolomini to decorate the Sienna library, Ten large pictures, illustrative of the history of Pope Pius II., were to be executed, and the cartoons for the whole were drawn by Raffaelle. At Florence he carefully studied the works of Musaccio and Leonardi di Vinci, acquired the true principles of colouring, and the art of chiaro-oscura; so that from that period his painting became more and more interesting and attractive. While he resided at Florence, he composed that admirable production, the Entombing of Christ, which drew forth the high applause of Vasar, as a most divine picture." In 1508, he was employed by the Pontiff, Julius II., in ornamenting an elegant suite of rooms, called La Segnatura, which he completed so much to the satisfaction of the Pope, that the works of former masters were excluded from the papal palace, and the walls occupied by the productions of Raffaelle. Julius II. loved art, but not with the same passionate earnestness as Louis X. Thus Julian, fond of painting, steadily patronized Raffaele, who, for a long time superintended the erection of St. Peter's. The archades of the Vatican were decorated under his direction, and their thirteen ceilings, each containing four subjects taken from sacred history, were designed and harmonized by himself. About the same time his genius was exercised on these majestic cartoons-a few of which are exhibited at Hampton Court-and from which were embroidered the tapestries of the Papal Chapel. Raffaelle remained single all his life-he was wedded to his art-the Cardinal di Bibbiena offered him his niece, but he declined the proposal. In his early days it is said he had formed an attachment for a baker's daughter; in his will he left her a handsome legacy. The last work in which he employed his pencil, was a painting in oil of the Transfiguration. With this sublime production, his life and labour ended. While engaged upon it he was attacked by fever, which ended fatally on Good Friday, 1520. The whole life of this man was spent before the shrine of art. He was cradled in a studio, the palette and brushes were his toys, his earliest lessons were in painting, to this his childhood and youth were consecrated; he rose higher and higher in the path of glory, surrounded by aspiring disciples, dwelling in the greatest splendour—an untitled prince among princes-until at thirty-seven years of age, his life ended, his body was laid out in his painting room in state, and his own picture the paint yet wet-of the Transfiguration placed near him. Yes: he, the mortal man, was now himself transfigured he had put on the awful grandeur of the prophets and the patriots-his raiment whiter than snow-his face shining as the light! Great among great men stands Michael Angelo-painter, sculptor, and architect. He was born in Tuscany in 1474, of an ancient honourable house. In his early years he evinced extraordinary aptitude for the arts, surprised his masters, grew wiser than his teachers, won the patronage and friendship of Lorenzo de Medici, who assigned him a residence in his own palace, and treated him as his own After the death of his munificent benefactor, Michael Angelo was induced by Pope Julius II. to settle at Rome. There he sculptured the Mausoleum of the Pontiff-painted the ceiling of the Sixtine Chapel, and constructed the cupola of St. Peter's-that matchless church, of which it has been said son. Thou, of temples old, or altars new, Power, Glory, Strength and Beauty, all one aisle Michael Angelo was employed in the completion of this work when he died, 1563. This great man had much to endure during his long life -fruitless regrets and bitter suffering. Many times his fortunes were eclipsed, and the artist was reduced to hopeless despair. When the Academy of Florence sent deputies to Leo X., petitioning him to restore to their country the ashes of Dante, who had perished at Ravenni— the artist, with generous enthusiasm, joined at once in the work of reparation and justice. We may still read at the bottom of the petition preserved in the Florentine archives, these words :-"I, Michael Angelo Sculptoraddress to your holiness the same prayer, and I offer to |