on top of the devil with one leg while holding up his spear to deliver a strike to his head. His wings are depicted open while the devil's are closed signifying defeat. The ideal figures that he would create were done so not to overpower the image, but with grace and reservation. Author George B. Rose claims that, "Even though color wasn’t his expertise, Raphael always used it appropriately. His use of lines were masterful and had a decorative quality to them. Raphael had great skill in portraying space through his compositions and it wasn’t always tied to having a distant background. Regardless of the sense of space created, Raphael had an ability to juxtapose the vastness of nature with man’s dominion over it. Man is always dominant, and the land is subservient to man's will." Here man is portrayed as the master through the image of Raphael and Satan is the subservient creature. A lot of these stylistic qualities were passed down to Raphael by his teacher and master, Pietro Perugino. When comparing paintings with Leonardo da Vinci, it is evident that Raphael was inspired by his technique of creating action that is suspended in time. The way in which Raphael's body is depicted with arm raised and foot planted on the back of Satan gives a sense of motion. The eye follows the lines of the body from the tip of the spear towards the head of the serpent. He also skillfully appropriates the style in which Michelangelo would portray the male nude. One specific technique for which Michelangelo is famous that is found in much of Raphael's art is the twisted pose as is depicted here with Raphael. Raphael had the privilege of accessing works by Leonardo and Michelangelo due to the fact that many of their artworks were commissioned by Florentine patrons. Having studied in Florence, Raphael had the opportunity to utilize these resources to his advantage. Reception Raphael's painting was chosen as the central topic for Charles Le Brun's first class session at the Academie royale de peinture et de sculpture in 1667. During the lecture, he compared St. Raphael's musculature to that of sculptures of Apollo. Charles also noted that even though the image is frozen still, the positioning of St. Raphael's body suggests movement. In opposition to this action, the facial expression of the angel is very calm and collected. This is a