C. Father as court painter D. Study in Perugia.

B. Works that he did while in Florence.

C. Interaction with Michelangelo and other artists.

A. Worked for Pope Julius II in Rome.

B. Worked for Pope Leo X in Rome as well.

While we may term other works paintings. Those of Raphael are living things; the flesh palpitates, the breath comes and goes, every organ lives, life pulses everywhere (Vasari, Web Museum 1)

On April 6, 1483, in Urbino, Italy, a man of a new age came into the world, Raphael Sanzio. Starting in his most formable years, art and poetry came into his life by way of his father Giovanni, a court painter to the Duke of Urbino. Giovanni, the first actual master of Raphael, taught him about the arts and all of the components of painting. For the first ten years of his life his father influenced his feelings on the ar

The frescos and paintings in the Stanza della Segnatura proclaimed many similarities to those paintings of Michelangelo's on the ceiling of the Sistine Chapel. However, Raphael's pieces of art had much more clarified arrangement of figures and a more perfect balance to the entire fresco.

Web Museum. Paris. "Raphael." June 11, 1996, 1-4.

Raphael is out of favour today; his works seem too perfect, too faultless for our slipshod age. Yet these great icons of human beauty can never fail to stir us: his Vatican murals can stand fearlessly beside the Sistine ceiling. The School of Athens, for example, monumentally immortalizing the great philosophers, is unrivaled in its classic grace. Raphael's huge influence on successive artists is all the more impressive considering his short life (Web Museum 4).

While in Rome, Raphael painted many frescos located in the Stanza della Segnatura. This room has an arched ceiling and each wall has a different painting on it. The architecture alone manifests the true heart of the High Renaissance. Each wall of the room has an arch support, and Raphael incorporated the arch into his works.

In many of Raphael's early works of art he echoes the style of Perguino, like that in the painting St. George and the Dragon. The style of Raphael in his early twenties proved in many aspects to far exceed those of Perugino.

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