7 ...

Newkirk
Let me quickly summarize some of the influence you have had on art and artists since your own time. In 1774, a young French painter by the name of Jaques-Louis David was awarded the very prestigious Prix de Rome by the French Royal Academy of Painting and Sculpture. The following year, he travelled to Italy where he studied the ancient monuments, and the master artists of his more recent past. It was your work, Raphael, that he most admired. David was perhaps the most important painter of what was known as the Neoclassical style. He concentrated on historical subjects, and in his work, he applied those characteristics of elegance and refinement that he found in your paintings.

Jaques-Louis David, The Death of Socrates, 1787, oil on linen, 130 cm × 196 cm

Later, another talented young Frenchman, Jean-Auguste Dominique Ingres studied for four years with David. The refined, sinuous and sensitive quality of line with which Ingres firmly defined the edges and outlines of his subjects evolved in large part from the style of David, and so also from Raphael. 

Jean-Auguste Dominique Ingres, Portrait of Louise de Broglie, Countess d'Haussonville, 1845

And in the 19th and 20th centuries, Ingres influenced Degas, and Manet and Matisse and Picasso, and arguably, according to Barnett Newman, the abstract expressionist movement. And so, Raphael, you can see that your work in particular, and the art of the High Renaissance generally, have left a legacy that stretches from your own time to mine.

Bernini
And let us not forget the influence of Raphael on the art of my time, David. Rubens, for example, greatly admired your work Raphael, as do I and most others of my generation, although your touch may not always be immediately evident in the art of – what did David call it? – the Baroque period.

Michelangelo
Fine. That'll be enough talk of Signore Congeniality for now. Everybody loves him. Everybody loves his art. We get it. Now please let us talk about some really great art ... (with a grin of false modesty, he leans back, tilts his head and extends his hands, palms up, in an "Aw, shucks – little ol' me?" gesture.)

Newkirk
OK, Michelangelo. Let's do just that. But before we leave Raphael's work, I want you to remember that, working in my studio, I feel an affinity with those qualities I just mentioned: the elegance, the clarity and the defined contours.