Sir Joshua Reynolds agreed (Discourse 5, 1772) with the views of Vasari on Raphael, and the ideals which Raphael represented were the ideals which were fundamental to Reynolds's views on art and art education:
The excellence of this extraordinary man lay in the propriety, beauty and majesty of his characters, the judicious contrivance of his composition, his correctness of drawing, purity of taste, and skillful accommodation of other men's conceptions to his purposes. Nobody excelled him in that judgment, with which he united to his own observations of Nature, the energy of Michael Angelo, and the beauty and simplicity of the antique. To the question therefore which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered that if it is to be given to him, who possessed a greater combination of the higher qualities of the art than any other man there is no doubt but Raffaelle is the first. But if, as Longinus thinks, the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference. These two extraordinary men [i.e. Michelangelo and Raphael] carried some of the higher excellencies of art to a higher degree of perfection than probably they ever achieved before. They have certainly not been excelled or equalled ever since. ( Reynolds, Discourses, p. 84).
Raphael's reputation in the nineteenth century was at least as high. However, Ruskin challenges Reynolds's views, just as he challenges the views of Vasari on Raphael (see Ruskin on Raphael).