S EI D E
PI T T O R
IL
T U S OL O
’
PI T T O R I
”
.
43 "
TH E G R EA T W O R KS O F
R A P H A EL
A
S A N Z IO
UR B I N O
OF
;
S E R I E S O F T H IRT Y P H OTO G R AP H S F R O M TH E B E ST E N G R A VI N G S
OF
HI S
M OST C E L E B RA T E D P A I N T I N G S ;
I
S RP
W I TH D E C I TI O N
V
S TR A NS LA TE D F R OM PA SS A V AN T S
’
"
,
A SA R I S L I F E
’
AN
OF
R AP H A E L TR A N S L ATED
,
APP E ND I X
,
BY
RA FA EL VO N U
MRS
A A
A I N I NG A CL A SS I F I E D L I S T O F
ED I T E D
BY
O F THE
J O S EPH
TH I R D
E D I TI
ON
UND
S R
JO N TH N F O TE
.
CO N T
P R I NCI PA L PA I NTI NGS
R BI NO
:
SEIN
V A TER z
AN D
TH E
A RTI ST
.
CU ND A L L
.
.
LONDO N
B EL L
A ND
YO R K
D A L D Y,
CAMBRIDG E
:
S T R EET ,
D E I G HT O N B E LL
,
1868
.
G AR D EN
C O V EN T
A N D
CO
.
.
”
PR EF A C E
.
HE
w orl d
n e ve r tire s
t h an thr e e
b e en
th e
ce
of
i t s b e st
ntur i e s t h e p a intin gs
ad m
of
ir a ti o n
m a n k in d
re p r o d u c e d in e v e r y c o untr y
sty l e
and
,
m ost
c
th e y
ev e r w e l c o m e
M i i ll e r
,
a c hi eve m ent s
fo r
,
a n d ca n
al l
Th e fa mo u s
.
;
Raph a e l h a ve
th e y h a v e b e en
in e very v a ri ety o f
e
n g ra vin gs fro m his
,
,
,
To s chi
onn oi ss e u r s fo r m a n y y e a r s
rare
a nd
of
F or m o r e
.
e l e b r a te d w o r k s b y R a p h a e l M org h e n L on gh i D e s n o y ers
G a r a v a gl i a
c
a re
w or k
of
and
,
,
t h e en g ra v e r
an d
’
s
art ;
e min en t
oth e r
a re
re ck on e d
b ut
n ow
on l y b e s e en i n t h e p o rt fo l i o s
l o v e rs of
a rt a
p re s ent g en er a tio n
a
n e w a i d h a s l at e l y
w on d e r fu l
ad
v ant a g e
s
.
m ini ature
c
of
of the
p run g
th e g r a n d e ur
a nd
b ri ll i a n cy
t h e w o rk
of
of
d e l i g ht e d
n g t h e for e m o st
w e a l th y
u
L u ck i l y
.
p w hi ch
o ffers t h e
Th e m a rv e ll o u s p o w e r
th e s e m a gni fic e nt en g ra vin g s
o py re p ro d u c e s
a mo
m en ,
,
th e y h a v e b e co m e v er y
Ph oto g ra ph y h a s r a re l y b e e n m o re b e a uti fu ll y
re p ro d u ction
,
.
s
of
h o wn th an in th e
L in e fo r
th e o ri gin a l
t h e fi rst p ro o fs c a n n ot
;
and
l in e
the
th o u g h
b e o b t a in e d
,
a
P R E FA C E
vi
d e l i ca t e
a nd
an
d
th o ro u g h l y
s a tis fi e s th e e y e
Th e Ed i tor h a s
R ap h a e l
’
s
o
-
nn ot a te d
Pa ss a v a n t s
’
p i c ture s
he
a
h as
th e
by
wh ich
giv e n
uth en ti ca te d
,
a re
the
i ll u s tr a tio n s
,
M rs
w h i ch
,
von U rb in o
fro m
th e
o
of
t he
f
th e
sam e
a
"
c
h a r ms
p re s ent
,
e l eb rat e d
w or k
(w hi c h
a nd
uth o rity
a
rti st
t he
at
,
”
.
a
c
en d
o
of
To
.
i s fu ll y
add e d
furth e r d e s c ri p ti on s
,
d ivin e
c
F o s ter ,) h e h a s
.
h ere re p r e s ent e d ;
w or k s
re d
f R a p h ae l b y G io r g io V a s a ri
tra n s l a tor
R a fa e l
"
e
s cu
e l e c t e d thirty o f th e m o s t j u s t l y
w or k s t o for m
s
is
ur a t e tr an s c ri p t
.
th e w e ll k n o w n Li fe
a
a cc
f
,
fr o m
th os e
of th e vo l u m e
o m p l et e l ist
of
t he
O F PHO T O G R APHS
LIS T
.
MARR I A G E O F THE V I R GI (L Sp l i z i ) I n th B r r t
M il
F r m t h grav i g by L O G HI
2
TH E M A DO
A WI T H T HE G OLD FI C H (d l C rd l l i ) I n th
F l or c G ll ry Fr m t h gr v i g by R AP HAEL M HE
3
TH E H OLY F AM LY W I T H T HE PAL M T REE
I n t h B ri dg
w t r G l l ry
F rom t h gr v i g by M E ET
I t h N t i o l G ll ry
SAIN T C A THE R I N E
A E A
A
F rom th gr v i g
b y D E S OYER S
I n t h B rgh P l c t R me Fr m th
gr v i g by
TH E E T O M M E T
N
an
o
.
o
e en
osa
n
en e
N
a
e
o
.
I
.
a e
0F
L
a
e
e en
e
a
e
n
a
a
e
a
a
no
e
.
ORG
-
e en
.
o a,
n
,
.
X ND RI
e
.
e
N
NN
.
o
Pa g
na
e
.
n
e
TIN
A
a e
N
e en
.
a
n
N
B
N
AN
N
o
e
.
ese
a a e,
a
o
o
.
e
en
a
n
S L EE
M DO A L B l l e J d i i é
I n t h e L uv r t P r i Fr m th gr vi g
b y D E S OYER S
”
I n th C h mb r f t h Se g tu r i th V t i c
Fr m
TH E S C HOOL O A T HE S
gr v i g b y VOL PA T O
th
”
I t h ch mb r f t h
S OLO M O
ME T
t
i the V t i c
T E J
c
F r m t h gr v i g b y A EE
d Alb
N w i t h H rm i ta g
t S t P t r b u rg
Fr m
TH E MADO NN A d l l C
gr v i g by D E S OYER S
th
A A l d b di i (L rd G g h ) N w i t h N ti o l G ll ry
THE MA O
gr v i g by B m
E
th e
G AL A T E A A F r c i t h e F r i P l c t R m F r m t he gr v i g by
TH E
NN
A
a
.
n
asr
e
r e.
o
e, a
a
s.
o
e en
n
a
N
N
F
e en
N
a
e
a
e en
D
e
o
e
na
n
a
e
an
a
o
.
e
a
o
e
n a ura
n
an
a
a.
o
n
e
e a
e
e e s
.
16
.
L ONI
’
as a
a
e
n
.
ND
n
18
o
.
N
n
NN
on)
N
0F
e en
o
a
n
a
UD G
H
e
.
14
o
,
a
en
ran
n
n
es o
.
n
a r va
o
.
’
s
o
.
e
n
na
a
a
e
.
ov x
o
a a e, a
a n e s na
n
e
o
.
a
en
n
R I C H O MM E
THE
MADO A
NN
NO Y
13
.
.
.
V tic
t he
a
an , a t
MADO A W I T H T HE DI ADE M ( l i g
gr v i g by D E S N OYER S
DR I
F RO M THE T E MP LE I
HE
o
V ti c
F r m th gr v i g b y A E
TH E MA O
AdlP (
I n th
b y D E S OYE S
TH E
NN
LI OD
a
15
In
.
Rome
.
F rom
th e
en
gra vi g
by
n
DE S
En s
en
14
d i F u l ig n o
a
,
an
n
)
e
In
.
the
Lo
u re
v
,
at
Par is
.
F rom t h
e
n
nUs
an
D
V
o
.
NN
N
e
R
EN
.
e en
csce
a
d a
n
ND
n
th e
C h a mb e r
of
H e l i odorus
”
i n th e
30
HL O NI
e
Es cu r ia l ,
M dr i d
a
.
F
ro m
t he
en
gr v i g
a
n
32
16
.
17
.
O F PH O T O G R A PH S
L IS T
viii
.
S T C E CI L I A I n t h Mu um t B ol g
Fr m th
gr v i g by R A P H A EL
MA SS ARD
E E KI EL I n th Pi tt i P l c F l r c Fr m t h gr v i g b y
TH E V ISI O
PAOLO C
L ODO C O E R O SSI
PO P E LEO X W I T H T HE C RD I A S G I UL I O E MED ICI
In
c F r m t h gr v i g by J E SI
t h Pi tt i P l c e F l r
I t h Pi tt i P l c F l r c
T HE MADO A d l l S di
F r m t h gr v i g b y
G ARA A G L I A
C HRIS T B EAR I G H r CE
(L Sp i m di S i i l i ) I n t h M dr i d Mu u m F r m
gr v i g b y T c
th
I t h B r i dg w t r G ll ry
F r m t h e gr v i g b y
T E MADO A l l P
gg i
e
.
.
Z
0F
N
a
se
o
e
.
o
na .
o en e
a a e,
n
a
en
e
o
.
en
e
a
.
a a
e
19
.
A
.
o en e
,
e
NN
e
a
N L
o
.
a.
AND
D
e en
a
e
n
VI
D
o en e
o
.
a
e en
.
a
e en
21
.
H
os s ,
s
N
NN
o
a ss e
( e
as
o
e
a
a
e
.
se
e
n
.
a e
e
a
e
o
.
e
n
a
NN
.
en
a
e
e en
n eH A N G
a
e
er.
s o
an
NN
o
24
44
MADO A d l l T d I n t h Pi c th c
T O SC H I
S i t (L Vi rg d S i
T E MADO A d i S
F r m t h gr v i g by MiiL E
E
TH E A
S
M IC HAEL I t h L ouv r
A LEXA DER T E E
POR TRA I T A L ADY (B EA T R IC E FEEE
th
gr v i g b y R A PHAEL M GH E
TH E T RA SFIG URA T I O
I n t h V ti c
t R m
H
a
L
n
T.
L
N
n
.
DI
A
26
.
e
e
F rom
.
th e
en
grav i g by
n
S i x te)
In
.
D re s d e n
th e
G ll ry
a
e
.
48
Pa r i s
e , at
Fr
.
om
th e
en
gr i g
av n
by
50
U
N
r
Fl r c
ne , at
o en e
Fr
.
om
52
N
a
e
.
T i bu
In t he
AR A
OR
n
N
n
46
a n t-
e
e
0F
a
Mu i ch
e a, at
na o
R
OF
e en
an , a
o
e
Fr
.
om
th e
en
grav i g by R A P HAEL
n
MO R G H EN
54
A RA G O
b y L E F E RE
B I DO A T T
J OA
N 0F
R
N
uv r
In
.
th e Lo
e , at
Pa r
i
s
(Th e
.
b
ut
s
on
ly )
.
Fr
om
the
en
gra vi g
n
58
V
N
L
OVI
Mou G H EN
29
.
i c th c
I n t h e P na
I.
(See
.
R A PHAEL A T F F TEE
I
pg
a
N
.
e
o
e a, at
Mu i ch
n
.
Fr
om
the
en
gr v i g
a
n
R A PHAEL
by
37 )
In th e Lo
60
uv r
gr v i g b y F F OR S T E
F r on t i p i e
G a ll ry of Pa i te r Por t ra i t at Fl r c F rom
e , at
Pa r i s
.
Fr
om
the
en
a
n
R
.
s
30
.
R A PHAEL A T T WE T Y TH EE I n
th
g v i g by D E S OYER S
N
e en
ra
42
n
EL O N I
AN DE
TH E
40
o
.
HI
os
n
o
38
n
V
20
36
.
n
a a e,
34
n
A R ONN I
18
Pag e
n
Ph otog
-
R
.
th e
e
n
s
’
s,
o en e
p h ed by
a
.
64
N
r
ce
ME SS R S C U DALL
.
N
a nd
F LE MI G
N
,
N ew B
o
nd
St
re t
e
.
L IFE
TH E
OF
F L O R E N T I N E PA I N T E R
A R C HI T E C T ,
R A PH A EL
OF
HE large
an
d
U R BI N O
A ND
S A N ZI O
.
liberal han d wherewith H eave n is sometimes
pleased to accum ulate the
i n fi n ite
riches of its treasures
the head of on e sole fa vourite —showering on
him
,
rare gifts
and
on
all those
graces which are more commonl y distributed
amon g a larger
n
umber of
lon g intervals of time on ly — has bee n clearly exemplified
,
i n stance of Raphael S an zio of U rbin o
an d
i n divi duals ,
in
accorded at
the well k n ow n
-
.
N 0 less excelle n t than graceful he was e n dowed by nature with
,
modesty and goodness which may occasio n all y be perceived
in
al l
that
those few
favour ed person s who enh ance the gracious sweetn ess of a dis positio n more
than usu a lly gentle by the fair orn ame nt of a wi n n ing ameni ty
,
to con ciliate
fo r
,
an d
all persons
co n stan tly gi v ing evide n ce
an d
Of
u n der every circumstan ce
,
al
the most refi n ed con sideratio n
The world received the gi ft of
.
this artist from the han d of nature whe n vanquished by art
,
in
the person of
M ichael A n gelo she deigned to be subj ugated i n that of Raph a el
on ly but by goodness al so
A n d of a truth sin ce the greater
,
.
a
ways ready
,
,
n ot
n
by art
umber of
rtists had up to that period derived from nature a certain rude n ess and
e c ce n tricity which
t/
n ot
onl y re n dered them u n couth
B
an d
fan tastic but ofte n
,
L I FE
2
caused the shadows
lives than the light
.
sple n dour of those virtues by
an d
in
dark n ess of vice to be more con spicuous
d
an
R A PHA E L
OF
w hich m a n
their
is ren dered
immortal ; so was there good cause wherefore she shoul d on the con trary
,
,
make all the rarest qualities of the heart to shin e resplenden tly in her
R aphael ,
an
n
d i ffi d en ee,
perfecting them by so much
grace application to study
,
excelle n ce of life that these alon e woul d have su ffi ced
d
eutralize every fault however importan t
,
an
,
veil or
to
,
,
to efface all defects however
d
,
-
glarin g they might have been
Truly may we affirm that those who are the
.
in
p o ssessors of e n dowmen ts so rich and varied as were assembled
of Ra phael are scarcely
be called simple
to
,
m en
the person
on ly they are rather if it
,
,
be permitted so to speak e n titled to the appellation of mortal gods ;
an
,
further
left
are we authorized to declare th a t he who by mean s of his works has
,
hon oured n am e
an
e nj oy such rewards
l a bours
an
d
merits
Raphael
the records of fame here below may also hope
in
was bor n at U rb i no
at three o clock of the n ight
,
,
a
pain ter
of su fficien t in tell ige n ce
n
,
everthele ss
pe n to himself i n his you n ger days
an d
,
of
March
,
a
cc rd i g t
o
n
o
.
his art
in
3
but a
,
for his misfortun e bee n laid
n ot
first as he kn ew how importan t
And
.
Good
on
,
perfectly compete n t to direct
,
it is that a child should be n ourished by the milk of its
O n t he 28 th
worthy of their
H is father was a
2
great e m in e n ce
of n o
his children in to that good way which had
1
d
most re n own ed city of I taly
a
,
’
1 48 3,
ert a in Giovann i S an zio
o
an
.
Fri d ay Of the year
m an
to
,
heaven as are comme n surate to
in
l
c
d
m o ther
ow n
,
an
d
n ot
J ul i C l d r b t by t h A tr m i c l T b l
S
z i d l S i g Q t émé d Q i y Mil 1 82 9
f t h y r t h It l i
c mm c i g t h um r ti
t he
an
a
a en
u
,
ono
s
e
a
a
es , o n
r Ar di R f l l
o e
e
ua
u nc
Ab ut i e i th e e ve i g t th i
o
o
e
e
e
a
f t h e h ou r
t o e h u r fte r su
t
A c mp ar e d wi th h i s
th at i t y ; b t c omp r i g t h w rk f G i v i wi th th os
f t h m te r h i c o t m p r r i es h wi l l b e se
t
h v e b e r th e r a g d th a a me rely tol er b l
p ai t r P i ti g fr m h is h d
t i ll to b e t Urb i as well i n F a o Pesar o Mo t fi
Gr d r
d C g l i wi th s me oth er i t h B r ra (M i l )
S e P s va t R f l
Ur bi
d
i
i S
V t
Gi a
ti
L i p zi g 1 8 39
l i
l s th e App e d i x t o th at work
S
t h e 26 t h
2
L ong h e n a , I s to i a ,
'
.
o
n n
s a
o
3
s
e
o
n e
a
se n
o
a
s
a n
n
a
ov
n e
s
,
an
o
,
an
.
o
s se a s
n
s
.
ea
o sa
en
e
a re s
s
e
an
e
,
a
r
r
a ns
o
e
an,
.
n
n
e
n
e
.
on
.
on ,
o a
o
nn
a
nse
s
s
a a, an
a er
n
n n
o
as
.
n
ae
a
e,
n
,
u
on
o
a
e se n a
e
e
,
vo
.
n
en
a
no,
an
.
a
ee a
o
o
s
o
oo
as a
n
n
n
o a nn
e
n
as
e
.
e
,
a
a
,
,
ae
v on
n e
ore ,
no a n
.
e
L I FE
that of the hired nurse
l
R A PH A E L
OF
3
.
so he deter mined when his
Raphael
(to
whom he gave that n ame at his baptism as be i n g o n e of good augury ) was
”
born to him that the mother of the chil d he having no other as indeed he
by
,
son
,
,
,
n
,
3
ever had more shoul d herself be the n urse of the child
,
Giovanni further
.
desired that in it s tender years the boy shoul d rather be brought up to the
habits of his own fami ly
he must acqui re habits
an d
,
an
d
beneath his paternal roof than be se n t where
,
m anners less re fin ed
modes of thought less
an d
,
commendable in the houses of the peasan try or other untaught person s
,
,
the chi ld became older Giovanni began to ins truct him
As
i
,
‘
.
the fi rst
n
principles of pai nti ng perceivin g that he was much inclined to that art
an d
,
findin g him to be e n dowed with a most adm i rable geni us ; few years had
his
as sistant to
father in the
the S tate of U rbino
though still but a c h il d became a valuable
Raphael ,
passed therefore before
n
,
umerous works which the latter ex ecuted in
‘
5
.
le n gth this good and affectionate parent knowing that his
At
would
son
,
p e rtine c of th i r m rk wi l l b m re b v i u i f w r m mbe r th t wh il i o ow
d i u u lly c fi d t o c
co u try t h p r cti c e f mpl oy i g h i r d u r i s c omp r t i v ly r r
c i ty o th c t i t b t m r p c i lly i F r c i t i
t he c
tr ry th e almost
of t r i ct
i v a ri bl p r cti c f m tro i al l ra k t o c fid th ir i f ts t th e c are f t he hi r l i g
M g i d u ght r f G i v i Battis ta C i rl
Th moth r of R ph l w
h e d i d i 1 49 1
wh e G i ov
rd i d u ght r of t h g l d work r Pi tro d i Part th i w m
ni S a zi o m rr i e d Be r
d ft r hi f th r
t a l t r p e ri d
i sai d b y om w i te r t o h a v e c a u ed R ph ae l m uch v e x t i
d th ; b y oth r h is ffi rmed
t r ry t h v be t l l t i m mo g hi b t fr i ds
th c
v t t sup ra See a l Lo g he I to i J di R f el l o S z i ar
See P
i S zi o h d l r ad y o o b t thi ch i l d d i d i 1 48 5
Wh
Ra ph a l w
born G i ov
uth r y two d u ght r
H h ad fte r w rd
om
o
i w m f re fi d h b i t d hi ghl
W e h v e ume ro us te t i m ni e t o t h f ct th t G i v
i S t i P tt
culti v at d mi d See mo g th er wr i te r P g il eo i El og i S t ri co d i Gi
P eta dw
U rb i o 1 822
i d i d i 1 494 wh e R ph l was b t l v
y r l d t h l tte r coul d t h a v e
Si c e G i ov
ass i t d hi s f th r i
u nl i d d w e t
a y b t th
m t u i mp rtan t l b ou r f th i r v c ti
uppo e i n h im i ns ta c of th t p r coc i ty f g i u whi ch i x mpl i fi d i M oz r t a d om few
wh
oth r
p ow rs h ve bee d v l op d i th i r e r l i t y u th b t wh o h v f t h m t p art
be com x hau te d be f r t h e tta i m t o f more th
h l f t he c omm ge of m m—S ch m
Th e
e
n
a
o
ne e s s
s
n
a
n
s
s
e
a
ass a a n
3
,
u
a
as
so
n
a
e
e
e
a
o
a
e
e
a
an
ne
s
n,
an
,
es a
a
n
.
e
n
e
o
a
,
s
e
,
a e
e
a
ase s
a
n
s
o,
o
s
e
s
a
es
an
e
en
’
s
.
e.
s
u
,
e
n
.
e s.
o an n
a
a
e
a
a
,
a
n
ne
a
e
ur
n
on
on
-
en a
a
s
o
on a
o,
a
an
s
e
,
s , on
-
o
a e
a
o
o a nn
r a,
s
e
an e ,
o
o
,
e
a e , an
n an
e
na,
s
e
a
on
e
n
e
a
o s sa
e a
s
a,
a nn
,
n
es
a
e
r, as s
o s
a a
on
na ,
on
,
.
s one ,
a
a
na
a
e
a
as
o
ses
s
s
e
en
e
ae
o
o e
n
s
e s s
ea
n
u
,
n
a
r
e
e
ne n
ns
n
an
on
a
e
a
n
e
e o
e
e
e
n
,
a
e
9
s
n e
as a
an o
ne
a
s an
v
'
e
o
,
.
,
n
.
5
a
e
s
e s,
e e
a
n
an
os e
n
un
s,
n
e
n
e
u
n e
e
s
o
n
o
,
o
ova n n
an
e
or e e
.
,
a nn
n
s e
s
n
n
os
n
a
a
o e
,
a
n
en
e
u
ae
n
en
s
e
a
an
e e en
s o
a
o
o
e
e e
n
a
a
o a
e
s e
es
ea s o
o
e
,
on,
e
u
on a
e
,
a
no
ess
n
n
a
a e
a
ee
e ar
n
or
s
e
e
e
os
a.
o
L I FE
4
a
RA P H A E L
OF
.
hi m
cquire but little of his art from hi m self resolved to pl a ce
,
who
Per u g i n o ,
l
a
,
with Pietro
ccord i n g to what Giovann i had bee n told was the n
,
con side red to hold the first place amo n g the pai n ters of the time
W here
.
fore proceeding to Perugia for that pur pose an d fi n d i ng Pietro to be a bsen t
from the city he occ u pied himse l f to the e n d that he might await the retur n
,
,
,
,
of the master with
th e
the Church of
fo r
less incon ve n ien ce
Fr a n ce sco
San
E
l
in
,
the execution of c ertain works
that place
in
But when Pietro had
.
return ed to Perugia Giovann i who was a person of very good mann ers an d
3
pleasin g deportme n t soo n formed a n amic a ble acquain tan ceship with him
,
,
,
,
an d
when the proper opportu ni ty a rrived made k n ow n to him the desire he
had
con ceived
,
Pietro ,
a
the most suitable man n er that he could devise
in
,
who was a lso exceedin gly courteous
greed to a ccept the care of
an
Raphael ;
hav i n g take n the boy though
d
n ot
,
well
as
,
of
a lover
as
Thereupo n
.
fin e
geni us
Gi o va nn i then retur n ed
to
U rbino ;
with o ut man y tears from
hi s
mother
who loved him te n derly he con ducted him to Per u gia ; whe n Pietro
m an n er
of drawing
,
observed the pleasin g deportme n t
d
an
of
the youth than he con c eived that opin i on
so
amply con firmed by the results produced
,
I t is
him which was
of
the after life of
in
well k n o wn fact th a t while studying the mann er
a
-
i m itated it so exactly
at
a
,
no
,
s o on er beheld his
,
o
in
due tim e
Raphael
4
.
f Pietro , R aphael
poi n ts that his copies can n ot be distin guished
ll
,
t uth ri t i fii m th t R ph l r c i v d h i fir t i tructi fr m L uc Si gn r ll i d
Ti m t V i ti wh w r t th t t i m i U rb i ; th y dd th t h w pl c d w i th P r g i by th
c r f h i u cl Si m C i rl
d th t f h i gu rd i
D
B rt l mm
It c
t w b c rta i d th t th r h v r b
i S zi
y w r k i P r u g i by G i v
i t h v i i t t P r u g i h r d c r i b ed uth t i c t d b
y
y k w d c m t
w
M y w i t r c cu r to p r v th t G i v i S zi w
h v id m
f g tl
d i p i ti refi d h b i t a d pl i g m
r h w l
f ll w r of t h m u
d
d c mp
w rk
t wi th ut m r i t
b rv
It li c mm ta tor t t h p i f th C u t d D u k
f U rb i
D r G y h l ik wi m d m t i
f C h r i cl i R hym b y G i v
i S zi
Se
Th e b e s
o eo
a e o
s
s
3
s
a
os
th e
e
on e
no
o
s
an
r
on ,
ne
”
.
a
e e
s,
e
a e
n
”
,
R afa el
v on
th i p orti
Ur bi no &
s
of
,
c
.
Ra
a
e
ae
.
en
o
a
en
s
a
a n,
e
an
o
on o
a
as
no
o
as, a s
en
o
o
,
on
eo
e
n
o u
e
o
a
a
en s
ra se o
n
no
e
e,
o ann
an
o,
.
sa
e
e
an
.
a e
e
o e
e u
e
n
an
o
a e
o o
o
a s a so a
a
ons
e
a
ee n a n
an
e
ns
on
a e
ann
s
,
a
an
o
ses , a n
e
o n
o ann
en
o
ose
an
an
e
e
o
.
e
.
ph l l i f
l i b 1v
as e
a nn e s
es a n
se
a
e e
a
e
e
s
a
o se
e
.
o
eas n
as
on
no
es
o e
e e
ae
n
ne
.
F or
e
on
a
a
a
Ku n ts bl a tt for 1 8 36 , N o 8 6
4
a
a , an
e
a
o
.
a
e
r
a
e as
e s
no
no
es a
e e a
e
ann o
o
o
n
o
o
,
2
n or
a
’
s
e , a nd
for
d t i l re p e ct i g hi f ll ow tu d e t
e a
s
s
n
s
e
s
n s , see
Pa ssa v an t ,
TH E
M A RRI A G E O F T H E VIR G IN
I N THE BRE RA
,
AT
MI
LA N
.
.
h i s c e l e b ra te d p i c t ur e gen e r ally kn ow n a s L Sp osa l zi S t J o s e p h w h o
i s pl c i n g t h e w e ddin g r i n g on t h e fin g e r o f t h e
s t a n d s on t h e r i g h t h an d
Vi rg i n w h o i s o ppo s i t e h i m w h i l e t h e p ri e s t h o l d s t h e i r h an d s Th e Vi r gi n i s a tt en d e d
b y fiv
y un g w om e an d S t J o se p h b y fiv e y o un g m e n
Th e l t t e r a e for m e r
s ui t o rs fo
t h e h a d of Ma ry
Th e m o s t h a n d s o m e o f t h e m b r e a k s h i r e e d w h i ch
w o u l d n o t b l oom u p o h i s kn e e ; t h e s e c on d a l s o b r e k s h i s r e e d a n d t h e o t h e r s r i s e
t e m pl e wi th s ix t e en s id e s s u rr o un d e d b y
t h ei r s i n t h e a i
I n t h e b a c k g r o un d i s
c olo n n ad e O n t h e m o ul din g o f t h e a r c a d e i s wr i tte n RAPH AE L VEDINAs me n u
T hi s p i c tu r e wa s p in ted fo t h c h u r c h o f St F r an c e s c o a t C i t t a di Ca s te l lo w h e r
i t r e m a in e d f
e a r ly t h r e e c e n t ur i e s u n ti l i t w a s t a k e n i n
1 7 9 8 b y G e n era l Le c h i
I t a ft e r w a r ds pa s se d i n to t h e h an d o f C o un t
t h e c o mm a n d e r O f a Fr e n c h b r i g a d e
Sa l a z a r w h o l e ft i t t o t h e O s p e dal e Ma gg i o re a t Mi la n I t i s n ow i n t h e Br e ra
'
t
.
,
,
e
o
n,
r
n
,
r
,
.
-
a
,
o
i
0
,
.
r
a
.
s
.
n
a
a
,
a
.
,
a
,
.
.
a
or
r
‘
e
.
n
,
,
.
P a ssa v a/
nt
.
,
,
s
.
,
e
,
.
L I FE
6
R A PH A E L
OF
.
he painted a small picture represen ting the espousals of O ur L ady and in this
,
in
work the progress of excelle n ce may be distinctly traced
Raphael ,
In
which is here much refi n ed
the pain ting here
in
,
greatly surpasses that of Pietro
d
an
the mann er of
in
question there is a church drawn
,
perspective
1
.
w ith
so much care that on e cann ot but feel amazed at the diffi culty of the problem
which the artist has set himself to solve
W hile Raphael was thus acq ui ring the greatest fame by the pursuit of this
.
man ner the pain ti n g of the library belon gi n g to the Cathedral of Sien a had
,
bee n entrusted by Pope Pius I I I to B er n ardin o Pintur icchio who was a
frien d of Raphael s an d knowi n g him to be an excelle n t design er took the
2
,
.
’
,
,
,
latter with him to Sie n a
H ere
.
made Pinturicchio certain of the
Raphael
8
design s and cartoons for that work ; nor woul d the youn g artist have failed
him
to contin ue there but for the reports which had reached
,
con cerni n g
L eon ardo da V inci of whose meri ts he heard man y pain ters of Sien a speak
,
in terms of the highest praise
They more especially celeb rated the cartoon
.
which L eonardo had prepared in the Sala del Papa at Flore n ce for a most
,
beautiful group of horses which was to be executed for the Great H all of
the Palace
They likewise me n tion ed an other cartoon represen ti n g
.
n
,
ude
figures and made by M ichael A n gelo B uon arroti in competition with
,
,
L eonardo whom he had
courses awakened
that occasion greatly surpassed
on
,
i n Raphael
di s
so arden t a desire to behold the works thus
commen ded that moved by the love he ever
to excellen ce in art
h e re
,
,
These
.
,
and setti n g aside all thought of his own interest or con venien ce he at on ce
,
proceeded to Fl or en ee
4
.
Th i
c l r t d p i ctur of t h e Sp os l izi
ow i
th Br r
Th C rd i l F r ce c o Pi ccol omi i wh ft rw d b c m P pe Pi u III
It w i ll b e fou d th t i t h l i f f Pi tu i cch i V r i tt ri b u t t R ph a l ll t h de ig
d c rt
f th i w ork
Th fir t v i i t f R ph l t o F l r c to k pl ac i 1 504 as w l ea r fr m
l tt r b r i g
d t 1 t O ct b r i th t y r fr m G i v i Duch e f S r i t r f th D u k f Urb i t Pi r
S d i i wh o w
th G f l i re f th F l r ti R pub l i c w h i ch R ph l to k wi th h i m d
9
s
i s th e
en
a
e eb a e
na
3
an
n
a
oons
4
a e
an
e
s
o er n
or
s
s
s
o e
,
n
as
e
a
s
a
n
n
e
”
o a
,
e o
n
n
n
e
ar s
e a
e
o,
e
r
o,
as a
e a
.
o
s
es
a
.
o
a
e
a
e
s
ns
.
o
a
en
a
ea
ae
,
o
on a on e
o en e
o an n
o
e
,
e
o
ss o
o en
ne
n
o a, s s e
e
,
n
e
,
o
e
o
a
e o
a
ae
e
e
n o,
o
ea
n
e o
o
,
an
TH E
IN
MA DO NN A W I T H
TH E
TRIBUN E
TH E
O F TH E UFFI Y
J,
GO LD F
A
T
FLO
IN CH
R E N CE
.
.
e t e d in a m e a d ow i s h ol din g a b o o k i n h e r l eft han d a n d i s
ga z i n g wi t h te n d e rn e ss u pon t h e li ttl e S t Jo hn w h o o ffe rs a g ol d fin ch t o t h e
I n fan t Je s u s t h e H oly Ch il d i s l e an i n g a gai n st h i s m ot h er s kn e e s an d e v id e n tl y wi s hi n g
t o ca r e s s t h e bi r d
Th i s p i ct ur e was b r o k e n in 1 547 w h e n t h e h o us e of Lo re n z o N a s i a t Fl o re n c e
fe ll t o t h e gr o un d I t w as afte rw ar d s re s t o r ed — Pa ssa v a n t
V i r g in ,
s a
,
,
.
,
’
.
,
.
,
.
,
R A PH A E L
L IFE O F
Arrived i n
he
th at pla ce he foun d the city ple ase hi m e q
u ally with the works
,
come to see
h ad
.
a
lthough the la tter a p pe ared to him d ivi n e ; he therefore
determi n ed to rem ain there for some time
an d
,
soo n formed a frie n dly i n tim a cy
,
Ga llo
San
a
bove
others
an d
,
He w a s ,
.
by T a ddeo Ta dd ei
al l
l
hi m al
ta le n t desired to h ave
,
an d
,
ways
house
i n hi s
an
courtesy p a in ted two pictures for T a ddeo wherein there
ar e
,
l a ter period by study
at a
a
lso formed
the l a tter h a vi n g take n
La dy
,
a
delight an d
th a t time
at
him where i n he represe n ted O ur
,
as
a
med
Lore n zo Nasi ;
p a in ted
an
d
picture for
a
San
Christ to whom
,
,
In
the a ttitu d e of e a ch there is
are
besides so
ad
a
mir a bly
,
E
.
a lly good is the fi gur e of the M a do n n a : it
u
q
of sin gula r gr a ce an d eve n divin ity while a l l the rest of the work
an a i r
,
the foregroun d the surrou n din g lan dsc a pe
,
here i sh
Le
rd d
ye r 1 506
na
fin i shed with so much c a re th at they seem more li ke livi n g
bein gs th an mere p a in tin gs
h as
-
.
bird whi ch is c a usin g i nfin ite
a
,
.
an d
,
wil l be rel a te d here a fter
I n fa n t
childl i ke simplicity of the utmost lovelin ess : they
coloured
lso of th at much better
Ra ph a el
,
with the
child is j oyously o fferi n g
gl a d n ess to both the chil dre n
lso
,
a
close frie n dship with
a
wife
a
,
G iovann i
d
a n
,
still c a refully preserved by the heirs of the a bove
are
Ra ph a el
.
Thereupo n
.
in
which he a c q
uired
T a ddeo
,
be s urp assed
not
,
These pictures
th a t city but
his t able
at
,
,
2
d
itself tha t he might
tra ces of his fi rst m an n er derived from Pietro
on e
A ristotele
,
gre a t a dmirer of distin guished
a
,
Ra ph a el , w h o w a s ki ndli n ess
gen erosity
in
in d eed much esteemed
who bei n g
,
G hi rl an d aj o
Ri d olfo
with several yo un g p ai n ters a mon g whom were
,
every other p articula r
an d
,
a re
l th e p ain ter h i m e lf
d isc ree t d m i bl e y uth
T h e ca rto p re par ed by
Vi i
d M i h e l A ge l o i c mp e t i t i o wi th eac h th er w ere
t c mpl e t ed t i ll th e
s
f
m re mi ute de ta il re p e ct i g th i p eri d f th e li fe f Ra ph l L g h
I t i d el l Vi t
&c Mu i ch 1 8 24 ; Re h berg Raf l S
io Pl t er
d Bu e
B esch r i b g
d
S t d t R m Pas
t P g il i d th er
W h t V ar i h ere rel te mu t h e t k e pl e t
u b eq
u e t per i od p erh p
th e
i o f R ph e l e d
me y th i rd i s i t wh e h e re ma i ed i Fl re e fr m 1 5 06 t
1 508
d M i h e l A ge l o
d m y th e h e ee th e C rt
f Le o rd
s
i i th gall ery of th e B e l i dere at V i e
T h ey were both p i tu re f th e M d
; th e
th er wh i h rep r e ts th e w h l e f th e H ly Family i i th e B ri dgew ter colle ct i
w
n
ona
ca l s
e
o
a
a
nc
e e,
.
s or a
er
a
a
occas
,
an
or
a,
a
an
a
a
s s con
n
,
av
s
c
c
es n
,
n
,
s
n
s
,
an
sa
or , as so
a
oon
a
s o
o
s
o
,
o
no
,
o
a nz
o
o
a n
ae
an
on
,
ns n ,
ena ,
e
un
.
ac
n
v
a
o an
s
,
n
s
a
s
n
,
na
on na , on e
o
o
ons
.
o
ae
s
a
av
s
n
o
”
o
n
,
eon
a
a
o
s
un
,
an
,
a
9
o
n
as
’
a
n
o
sa v a n
n o
n
c a
,
o
a
"
s
c a
s
n
n
n
n
.
n
o
v
e
a
a s
,
nc
o
o
nn a
,
on
on
.
exceedin gly be a utiful
Lore n zo N a si
Ra ph a el ,
who
h ad
excellen ce of the
1 548 ,
.
he lived
as
the highest estim a tion by
on a
,
W
in
.
o n ly bec ause it
n ot
,
held
w as
bee n so m uch his frie n d but
hole compositi on : but
Lore n zo w a s
with the be a uti ful
an
d
an
d
memori a l of
a
ccou n t of the dign ity
9t h
the
on
w as
of
an
d
A ugust , i n
the ye ar
San
G iorgio ;
the work w a s destroyed by the sin kin g dow n of the hill of
when the house of
Nero,
This pictur e
1
so lon g
RA PH A E L
OF
LI F E
8
overwhelmed by the fa lle n m a sses together
,
richly decor a ted dwell i n g of the heirs of M a rco del
m an y other buildi n gs ;
It
is true th at the fr a gmen ts of the picture
were fou n d a mo n g the ruin s of the house
,
an d
were put together
m an n er th a t he coul d con trive by B a tist a the
s on
,
gre a t lover of a rt
A fter h a vin g completed these works
Lore n zo ,
of
in
the best
who
w as
a
.
le ave
F lore n ce
an d
rep a ir to
fa ther h a vi n g both died his
bidin g
i n U rbin o ,
M on tefeltro who
ar e
both sm a ll but
,
mann er ; they
are
f irs were
ar e
b eau t i
2
W h il e thus
.
n ow
F lore n t i n es ;
in
qy
A postles ,
these pictures
R a ph a el
the possession of the most i llust rious
U rbin o
3
.
Fo r
the s a me
n
who
sleepin g
ar e
at
’
s secon d
an d
most
oble the m a ster
,
other sm a ll picture represe n tin g Christ pra yi n g
with thr ee of the
so
G iov ann i h is
exceedin gly be a utiful ex a mples of
,
an
an d
much con fusion
in
the n C a pt ai n —
ge n er a l of the
excelle n t G ui dob a ldo D uke of
executed
hi m self compelled to
he p a i n ted two pict u res of the M a don n a for G uidob a ldo of
w as
,
Ra ph a el w a s
where his mother
af a
,
a
U rbin o ,
,
in
some distan ce
4
,
the garden
an d
,
which is
p ain ted th at it coul d sc a rcely be either better or otherwise
re der wi l l rem ember th at th i i amo g th e most a d mi red work ow a d or i g th e
T ri b u e of th e Fl ore ti e G ll ery
F o v a r i ou de t a l res p e cti g th i p eri od of Ra ph e l
l i fe see Pa s a a t Raf el o Ur bi o
i
nd sei
V ter &
T h e uth ori ti es i th i s q
u e t i o are i ncl i ed to be l i e e th a t o e of th ese p i ctu res i s o w i th e
I mp er i l Gall ery of St Pe ter b u rg ; th e oth er i s sa i d to be i E gl a d L ecl nch e ugge t tha t
th e e may be th e M d onn as engra ed b y Cro t
T h i work wh i ch be l o g t o th ose e ecuted i th e e arly m nner of th e mas ter i ow i n Ro me
i th e p os e s i on of th e Pri nce G abri e ll i —
Passa a t
Our
1
a
s
s
n
n
9
u
r
n
s
a
3
c
,
a
n
n
.
s
s
s
,
s
s
a
n
’
s
s
,
v
n
s
n
n n
v
n
v
a
,
v
n
z a
n
n
n
.
n
.
a
s
n
s s
.
x
s
n
n
n
a
4
s
.
a
s
n
.
s
a
n
n
s
n
v
n
.
a
,
s n
,
were it eve n
min i a ture
in
M a ri a D uke of
Fran cesco
A ft er
.
this picture
il lus t rious la dy his con sort the D uchess
V e n eti an s , Don
P ietro Q u i ri n i brothers of the
Holy Hermita ge
an d
D on
of C a m a ldoli
w as
pla ced by them like
a
an d
,
Hermit a ge ,
me m ori a l of tha t il lustrious l a dy
as a
Ra ph a el
U rb in o
of
Ha vin g
completed these works
d Sa n N iccol o,
Se r v i t e s :
Church of the
where it rem a in s hon oured
,
d
bein g from the h an d of
as
an
d
a
rran ged his
f irs
and
Sa n
the M ona stery of
at
Con ve n t of the O r d er of C a m a ldoli
in
,
G iovann i
Sa n
with
return ed
A n si d e i Fa mily , i n
for the Ch a pel of the
l
Ra ph a el
af a
La dy
picture of O ur
a
,
an
an
the
in
,
.
to P erugia where he p a in ted
B a ttista
relic or s a cre d thi n g
a
,
pa rtme n ts of the pri n cipa l of th a t
both
the possessio n of
to the
Pa olo G iustin i an o
,
in
prese n ted by the most
was
Leo n ora ,
,
,
9
.
h a vi n g bee n lo n g
Urb i n o ,
,
R A PH A E L
OF
L I FE
S evero
the s ame city he p a i n ted
fresco for
a
,
sm a ll
a
,
the
The subj ect of this work is Christ i n G lory with
G od the Fa ther surroun ded by A n gels a n d six fi g u res of S a in ts se a ted
La dy
the Ch a pel of O ur
.
,
,
,
three
on
e ach side :
side
o ne
other
na
mely ; with
San Romu a ldo ,
G irol a m o
,
,
Ra ph a el
the s a me city
,
V irgin
an d
na
A n to n io
’
on
;
,
me
a
M a uro
work
in
l a rge
in
of P a du a ; the
,
an
,
d Sa n Lore n zo ,
d San
fresco
an
d
,
w as
a
I n fan t
La dy
Pa olo S an ta C ecili a
,
,
P la cido
,
on
the
on
the
the n con sidered
cle a rly legible letters
picture of O ur
Christ is
it ple a sed those simple
as
e a ch side of O ur
San
mely with
na
Sa n
an
commission ed to p a i n t
w as
is fully clothed
tha t he sho u ld be
P ietro
,
wrote his
Ra ph a el
by the n un s of S an t
the
San
,
Be n e a th this picture which for
.
very be a ut i ful
In
B e n edett o
San
,
in
an d
the
and
.
La dy
of
l ap
pious l a dies
fi gures of s a in ts
ar e
”
S an t a C a t a rin i
San
,
To
3
.
p os e i o of th e D u k e f M rl b r u gh t B l e h e i m i t be r th e d te 1 505 ;
th e Prede ll is th e p re ch i g of J h th e B pt i st b t th i p r t f th e work i or w i th e ll e t i
f Lord La sd w e
w
H i g uffered mu ch i j u ry th i fre
re st red me y e r i e by th e p i ter G i u e pp e
C
t tol i
Th upp er p rt o ly w
p i t d by R ph e l th e l werm t po rt i be i g th e w rk f
Peru g i
T h e i n ri pti w
t
t dded u t i l
ft er R ph l de th
See P sa
A Ital i a wr i ter all th i fig u re S t M rg re t ; th e G erm
mme ta to r
th e t r ry
N ow i n t h e
s ss
a
a
n
o
2
ara
av n
.
no
3
n
o
a
o n
a
o o
u
,
n
a
s
:
o
a s
a
as
s
on
n
co
c
on
.
n
e
a
sc
n
a
o
n
s
.
n
n
n
on
c
,
as
as no
s
s
s co
s
as
a
a n e
n
a
.
a
a
a
a
a
C
so
o
’
s
a n
os
o
,
ae
a s s nc
a
an
on
as
.
co
n
n
va n
s
,
o
o
.
s , on
co n
a
,
R A P HA E L
OF
L IFE
10
these two holy virgin s the m a ster
.
an d
given the most lovely fe a tures
h as
lso a dor n ed them with the most fan ciful an d
varied he a d dresses th a t could be im a gi n ed —a very un usu a l thi n g a t th at
m o st
gr a ceful a ttitudes ; he
h as
a
-
time
In
.
Fa ther ,
which is extremely
the history of Christ
S a viour pr ayin g
hi m
l ap
a
lon g
the ga rde n ;
in
the M a donn a
of
1
But
will
I
Flore n ce ,
to
p a in ted
w as
an
d
a
in
The fi rst of these represen ts the
.
the secon d h e is seen be a ri n g the cross
ttitudes of cert a in soldiers who
2
,
It
.
is held
an d
he is k n own
al l
to
thi s pl a ce th a t a fter
in
Ra ph a el h a d
,
h a ve much ch an ged
an
d
p ain ters likewise
na
the m ann er afterwa rds a dopted by him
y,
with his e a rlier
to
be
by
th a t the works e xecuted
di ffere n t h an d
a
an d on e
,
B a glion i
Fra n cesco ,
but
3
pro m ised th a t
as
on
,
p a in t
to
he could
n ot
af a
ar t .
in
San
the church of
,
F lore n ce ,
,
the
be supposed
th a t time c o m ply with her wishes he
at
f irs he would
in
th a t
in
common
in
m ight
,
bee n re q
uested by M a donn a
h ad
picture for her ch a pel
a
his retur n fro m
proceed for cert a i n
the l a tter
in
much less excelle n t
left P erugia he
Ra ph a el h a d
Before
A tal a n ta
on e ,
so little
w as
.
been
improved his m ann er
from havin g seen the m an y works by excelle n t m a sters to be fou n d
city ;
the
in
the utm o st ve n era tion by the n un s for
in
is very highly commen ded by
o m it to me n tio n
not
dr a ggin g
ar e
lyi n g dea d
hi m
,
The whole work is with o ut doubt very a dmir a ble : it
.
is full of devout fee l in g
whom it
an d on
a
sin gul a rly be a utiful ; the thir d shows
ar e
,
fin e ,
very sm all fi gures
in
,
here the moveme n ts
d
an
fi gure of the A lmighty
the P redell a a r e thr ee sce n es from
lun ette a bove this picture he p a in ted
a
whither he
fa il to do so
n ot
w as
the n
o
bli ged to
W hile in Flore n ce ,
.
th ugh e q
u lly de l r i g th t i t d e
t re p re e t S t C e il i
i der i t to be i te ded f St
R sal i e b ut th e g rl d f fl wer w hi h i t be r
i
d wh i h m i ght ee m t i m ply th t thi Op i i
w ell f u ded i i
f t l w r f ri ght by S t Ce i li
i t i by S t D r th e
by
d p erh p
th er i t T h i p rt f th e p i t i g i w t N pl e i t h Mu B rb i
T h i p rt i of t h w rk i i E gl d — P
t
B t w
l d by th e i r u e r i th e
e t fo t w th u d u d i
V
r i i mi t k e rem rk B tt ri th e hu r h i th t f S B er rd i
d
t S
—
Fr
e
R m
Ed i ti
f V ri I 759
o
a
o
c a
,
-
o
o
n
sa n s
a
an
n
ac
s
.
s
2
s
,
o
n
a
o
o
a so
a
on
s
c
a n
o
s
n
s
n
n
s no
n
a
an
a , cons
c
c
.
c
.
a s , an
o n o
o
e
no
o s
a, as
s,
a
s
as sa va n
s
e
n
o o
.
se o
o
s
a
o
or
n
n
n on
,
a
no , a n
no
a , an
.
s
s,
on co.
.
'
u
3
a n c sco
as so
a sa
”
.
s
s
o
s a
an
cc ss o s
”
n,
on o
a
s
a sa
n
o
,
con v
a
r
n
c
,
.
o san
o
c
s
a
o
sc
an
.
na
an
ST
.
CA T H E R IN E O F A LE XAN D RI A
TH E
IN
N A TI O N A L
E RY
G A LL
.
.
e e n re s ti n g h e r r i gh t h a n d on h e r b re as t a n d h e r l e ft
H e r fac e i s rai s e d w i th a n
a rm o n a w h e e l t h e i n s tr um en t o f h e r m a r t r d o m
y
e x p res s i on o f (l i m e e n th us i a s m tow a r d s a ra y o f li gh t co mi n g fro m h e a v e n
In
t h e bac k g ro u n d i s a r i v e r b o r d e re d wi t h t re e s a n d h o us e s
T h i s pi ct u r e w a s fo rm er ly i n t h e Al d ob ran di n i Pa lac e a t Ro m e I t a ft e rwa rd s
beca m e t h e p ro p e r t y o f Mr B e ck ford fr om w h om i t wa s p u r cha s ed fo r t h e N a ti on al
Pa s sa v a n t
Ga ll ery
CA T H E R I N E i s
s
,
.
,
,
,
.
.
.
.
'
,
L IFE
R A P HA E L
OF
11
.
and
therefore where he devoted h i mse l f with in describa ble e n ergy
,
tio n to the studies co nn ect ed with his
ch a pel with
,
t he
ar t ,
i n San F r an cesco
in
th a t city ;
p y
,
a
thus soj ourn in g in F lore n ce A gn olo D o n i w a s dwellin g
A gn olo w a s a verse to spe n d i n g mo n ey for other thin gs but
n ow
,
,
in
,
lthough he sti l l did so
Ra ph a el w a s
his wife
possession of
,
as
frugally
both were executed
A g nol o
’
s s on ,
an d
bui lt most h an dsomely
the street of the D yers
D ome n ico
Fo r
which he gre a tly delighted he would wil l i n gly
commission ed to p a in t
an d
,
San
we
as
a
I n fan t
,
ye a rs
a
him
All
.
a
tre a t e a ch other
ppe ar to be a m a zed
a t an a
S a viour the other
,
the pe n cil
in
on
expressio n of a ston ishme n t
bestowed this you n g ch i ld
h ad
a ff
ge
at
on a
an
,
,
an d
A lberti, i n
,
on e
E liz a beth ;
the
an d
ima te d co un te n an ce
an
d
at
St
.
of pra is e to G od whose
,
mother a lre a dy so
in
evin cin g
fe et of this work
fa r
a
dvan ced
which the two cousin s
hi s
ectio n a tely c a ress i n g his comp ani o n
,
A g n olo
his staff ; he be n ds his he a d
the m ann er
so te n der the
the he a ds h an ds
the
pictur e wherein he
a
by S a n t a
most
who st an ds le a ni n g with both h an ds
gre at n ess
in
ar e
the house which
the corn er of the
at
th a t of
as
Christ ; the divin e Child is c a ressi ng
,
an
in
lso p a in ted
G iova nn i who is brought to
towa rds her with
in
,
well
see the m ; they
n ow
,
as
,
.
l atter whil e holdin g the boy looks with
Joseph ,
,
1
Can i g i an i , Ra ph a el
,
By him therefore
.
,
commodiously
i n F lore n ce
,
possible
w as
portr a it of himself
a
,
as
G iovan n i B a ttist a
represe n ted the M a donn a with t h e
the little
so ,
.
w as
for p a in tin gs or sculptures
a
on
—a work which
the fi rst opportuni ty th a t might prese n t itself for doin g
W h i le Ra ph a el
pplic a
he prep ared the c a rtoon for this
i n te n tion of proceedin g to execute it
he afterw a rds a ccomplished
a
h as
revere n ce for the
.
E very
touch of
produced such e ffect
th a t the p a rts seem r ather to be of the livi n g fl esh th an the mere colo urs of
the p ain ter however able
,
a
m a ster of his
a rt
This most
.
n
oble picture is
T h ey were ol d by th e de e d t f A g ol D o i to L e p l d II G r d D u k e
w m k e p a rt of th e ma g i fi e t coll ect i
nd
i th e Pi tti p l ce T h ey are e ngr ed i
See Passa
t
s
a
no
a
va n
sc n
n
.
c n
n
an s o
on
n
o
o o
n
a a
.
,
an
av
of
n
Tu
y
s ca n
L ong hen a
,
.
P HA E L
the possession of the heirs of D om e n ico
in
n ow
RA
OF
L IFE
12
.
Can i gi an a ,
tha t esteem which is due to a work of Ra ph ael of Ur b in o
W hile in the city of F loren ce this most excell en t p a in ter studi ed the
l
al l
in
an
.
cie n t works of M a sa ccio
M ich a el
A n gelo
still further pr o gress
in tim a cy with
the
m a n n er
an d
,
wh a t he
sa w
in
Fr a
of th a t
in
A mo n g
.
other a rtists
,
Ra ph a el
formed
M a rco dur i n g his a bode
m a ster
him
gre a tly wherefore he took
,
m on k h a d
,
But j ust when this i n tercourse
w as
the church of
San Fr an cesco ,
the a bove
ed M a donn a
c a rtoon
-
n am
i n F lore n ce ,
as
we h a ve s a id
are
,
an d
with so much c a re
pl e t e d
sm all
previously give n his a tten tion
n ot
most fre q
ue n t
an d
i n tim a te
,
.
Ra ph a el
w as
th at
where he completed the p a in tin g promised
A t al an t a
de a d Chr ist who m they
close
a
his p art the rules
on
rec a lled to P erug i a ; here the fi rst work which he performed
w as
m a de
no
,
,
perspective to which the
had
B aglion i for which he
,
In
.
d
in F lore n ce ,
San
p a in s to imita te his colourin g tea ch i n g th at good fa ther
of
an d
,
B a rtolommeo di
ple a sin g
an
prosecute his studies ; he
to
extr a or di n a ry a melior a tion of m a n n er
an
ar t
L eo n a rdo
the l a bour s of
c a used him stil l more ze a lously
con se q
ue n tly a tt a in ed to
a
by whom it is held
in
to
prep ared the
this most divin e picture there is
be a rin g to the sepulchre the body p a in ted
,
fresh n ess th a t it a ppe a rs to h a ve bee n o n ly j ust com
W he n occupied with the compositio n of thi s work , Raph a el h a d
.
ima gin ed to h i mself a ll the grief
an
d
p a in with whi ch the
af
fection a te rel a tives see born e to the tomb the corpse of
mo st de ar to them
,
an d o n
whom
on e
al l
who
d
most
h as
been
an
the hon our
al l
.
,
Giov ann i more p a rticul a rly his h an ds
,
he a d with
,
e arest
O ur La dy is see n to be si n kin g i n se n sible
the weepin g fi gures ar e e xceed i n gly gr a cefu l ; th a t of
welfa re of the e n tire fa mi ly
the he a ds of
truth depe n ded
h as, i n
n
ar e
cl a sped together
,
an d
an
d
an
d
San
he ben ds his
expressio n which c an n ot but move the h a rdest he a rt to com
an
rk i bel i e ed by cert i Ital i w r i te rs t be t R me i t h p osse i o of th e Mar ch e e
Ri cci i b ut th t p i tu re i s de l red b y o th er a uth or i t i e to be a copy o ly th e or i g i l be i g as t h e
y
ffi m i t h Pi a ot e ca at Mu i ch
S e Pa sse /
mt
Se e a l so R um h r I t l i en i h F o sch ng m
ol iii p 6 5
Thi
v
r
.
wo
n ,
nu
a
s
,
.
n
a
e
.
s
n c
.
v
c
a n
an
c a
n
a
o
s
.
e
d (
.
o
,
n
e
n
o
ss
na
,
,
n
a
sc e
s
n
r
,
u
,
W RAPHAEL
.
"w
of lo
W
N
Call igiano,bywhomit is held
l
koi R
a ha
l
e
f
o
Urbino
p
.
this most excellent painter studied the
I"
h
I l t he sawinthe abou s of L
eonard
o and
l
r
Inore mlornly to prosecute his studies; he
M alina”ameliorationofm
anner, andm
ad
e
l o ng
h
ot er
who, Raphael formeda close
T H E E N T O MBME N T
ii Son limo duringhis abodein Florence
in(
,
,
sing
himgreatly wherefore he tooknosmall
.
IN
TH E BO
i that goodfather onhispart therules
R GH E S E
PAL AC
E
,
teachng
n
nto
h
i
s
a
t
e
v
e
n
l
v
i
o
ia
r
e
n
o
t
a t hd
yg
p
i
t i
y o un g
.
q
a hae
t
e, R
i
n
t
i
n
m
d
a
n
n
t
e
u
e
f
r
t
p
o
nom
a
s
l
i
a
stha n
w
e
d
r
m
o
r
f
e
h
e
h
c
w
h
i
ork
i rst w
p
, f
t
a
th
sedt
m
m
i
n
n
a
e
h
t
p gP
e hemmleted
p
i ti
o
redthe
a
r
e
d
h
a
e
i
h
h
c
w
h
p
r
f
o
p
i
i
m
i nM
h
ere is
t
e
u
r
i
c
t
e
i
v
i
n
ost d
p
m
i, m
,
S
i
d
e
m
a
b
a
e ll f
h
t
l
l
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l
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s
e
,
e
h p
buying to "
com
t
u
s
l
n
o
n
bee yj
A
.
T RO ME
.
are car ryi n g th e b od y of C h r i s t t o t h e
0 w h o i s o n t h e l eft s i d e of t h e pi c t ur e i s w a l ki n g
w h i ch l e a d t o t h e s e p ul c h re
th e o t h er h o l d s t h e fe e t o f Je s us
h s c o m e t ta k e a l a st l o o k a t t h e m u c h l o v e d fea tu re s of
h an d B e h i n d h e r i s J o s e p h of A ri m a t h ea an d l ean i n g u p o n
h i s h an d s i n g r i ef
T o t h e r i g h t i th e V i r gi n w h o i s fai n t
w om e n
on e o f w h o m i s c ro u c h i n g o n
th e g ro u n d I n t h
C a l v a ry wi th t h e th re e c ro ss e s
T h i s p i c tur e w s p ai n t e d i n t h e y ear 15 07 for t h e a l t
Fr a n ci s c a n a t P e r ug i a a n d r em a i n e d t h ere till th e m o n k s
Pa l V w h o p l a c e d i t i n t h e B or g h e s e p a l a c e —
Pa ss wv a n t
m en
,
,
.
a
-
o
.
,
s
.
,
,
.
,
.
a
s
u
,
,
,
.
.
L IF E O F
pass i on
RA
P H A EL
13
.
T ruly may we say that whoever shall cons i der the di l i gence
.
an
d
love the art and grace exh i b i ted in th i s wor k has good reason to feel as
,
,
t oni sh m en t ,
and i t does indeed awak en adm ir at i on in all who behold i t not
,
only for the express i on of the heads but for the beauty of the draper i es and
,
,
short for the perfect i on of excellence wh i ch i t d i splays
in
in
all i ts parts
l
.
W hen Raphael hav in g completed h i s wor k had returned to Florence he
,
,
,
rece i ved a comm i ss i on from the D e i Florent ine c i t iz ens to pain t the altar
,
,
p i ece for the ir chapel i n the church of S anto S p i r i to : th i s pai nt ing the master
commenced and made cons i derable progress w i th the s k etch for
a
he l ik ewi se
it,
prepared a p i cture at the same t i me wh i ch was afterwards sent to S i ena but
,
had first to b e left w i th
G h irlandaj o on the departure of
Ri dolfo
Raphael ,
,
to
the end that he m ight fini sh an a z ure vestment whi ch was st il l want in g when
left Florence
Raphael
that Bramante of
3
And
.
U rb i no ,
l i ttle relat i onsh i p that he
thi s last event happened from the c ircumstance
be in g i n the serv i ce of pope J ul i us
w i th
h ad
R aphael
I I,
for some
and because they were of the
same place had wr i tten to the latter in form i ng h i m that he had preva il ed
,
,
wi th the P ope
V at i can
bu i lt in the
ab il i ty
hi s
entrust certai n rooms wh i ch the P ont i ff had caused to be
to
to h i s care and that there i n he m i ght gi ve e v i dence of
,
T he proposal grat i fied
.
Raphael , and
he left h i s wor k s in Florence
unfin i shed the p i cture for the D e i fam i ly among the rest but th i s last was i n
,
,
such a state that M esser Baldassare da P esc i a afterwards on the death of
,
T h i j tly c el ebra ted w ork w p rch a ed b y P e pe Pa l V for th e B orgh e e G al l ery wh ere it
l ong re ma i ned T h e tym p an be l ongi ng to thi pict re re p re en ti ng G od th e F ath er with pli fted
(
h and i till i n th e C h rch of S F ran c e c o a t P er gi a T h e P rede ll a i i n th e Va tican —P
w i n th e P itti P al c e and til l i n
T hi i th e pict re c all ed th M d
d l B ld h i
it
nfi i h ed tat e a lth o gh m ch re t ored t h w ork rema i ned i Pe ci a n til th end of th e
e en teen th c en t ry wh en it w p rch a ed a t a ery hi gh p r ice b y th e G rand D k e Ferdi nand T h e
re t orati on w e ffe cted b y G A Ca ana S Pa a an t t p r
T h e pict re en t t S i ena i th a t ca ll ed L B l l J rd i i er p rch a ed by F ran ci I of F ran c e
and w i n th e L o re F or th e c on flicti ng Opi n i on re p e cti ng th e work p a i n ted by R i dol fo
Ghi rl andajo
Pa a an t V g K t w k d Kil t l i n P ari and R moh wh agree
with th e l a tt r i
th e beli ef th a t th e M adonna of th e Co l onna Pal a ce i th a t c ompl e t d by Ri do lfo
Ghi rl andajo Engra ed b y De noy er
us
s
as
u
s s
9
s
u
u
s
s
n s
an
s v
e
u
,
u
.
u
ne
,
e
.
ss v
e
ss
.
aa
a
un s
en ,
n
a
no, n o
s
er
e
e un
e
,
a
su
u
s
s
.
e
a
n
s
s
n s cr
e,
.
.
u
s
s
s,
s
v
u
.
s
,
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ss v
ee
a ss a v a n
.
n
.
,
s
ac
u
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.
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,
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,
v
s
V
s
,
e
:
s
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.
o
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uv
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s
as
u
,
on n a
a
u
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as
3
s
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s
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.
s,
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e
.
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s
LI
14
R A P HA E L
FE O F
.
Q
R aphael that i s to say caused i t to be placed
in
,
nat i ve
ci t
y
T he master then proceeded to
I
.
the chapter house of h i s
-
R ome ,
where he found on h i s
,
arr i val that a large part of the rooms i n the palace had already been pa i nted
In one of these
or were i n process of be i ng pai nted by d i fferent masters
,
,
.
,
apartments for example there was
,
della Francesca ;
”
part
of
the
3
other ; D on P i etro della Gratta abbot of S an
al so commenced certai n wor k s i n the same place
an
,
,
,
Br a m an t i n o
in
da C ortona had made cons i derable prog ress
Luca
pa int in g of on e s i de of
C lemente i n A re zz o had
and
h i stori cal p i cture pain ted by P i ero
an
,
of M ilan had pain ted numerous figures there the greater
,
wh i ch were portrai ts from the l if e wh i ch were cons i dered
be
to
,
4
O n h i s arr i val i n Rome Raphael was rece i ved w i th
much ki ndness by P ope J ul i us and commenced a p i cture in the chamber of
the S egnatura the subj ect of wh i ch i s T heologi ans engaged in the recon
c il i at i on o f P h ilosophy and A strology w i th T heology
I n th i s wor k are
dep i cted all the sages of the world arranged in d ifferent groups and
occup i ed w i th var i ous d i sputat i ons T here are certai n astrologers stand i ng
apart who have made figures and characters of geoman cy and astrology on
tablets wh i ch they send by beaut iful angels t o th e evangel i sts who explain
exceed i ngly beaut i ful
.
,
,
,
,
5
.
,
,
.
6
,
,
a fi r tha t B raman t e w
t re l a t ed to R aph ael and was b t
hi fel l o w t o wn ma and a cq a i n t an c e ; o th er w rite r
gge t th a t th e i n t rod cti on t J li II w
mo t p robab ly e ffe ct ed by th e y o ng D k e of Urb i no F
t o wh o m Ra ph ae l
c
e M ar i a de ll a Re
h ad been k no wn fro m chi l d h ood
O f thi work V a ar i doe no t mak e m en ti on i n th e l if e of L c a da Cort ona (L ca Si gnore lli )
w hich p re cede tha t of R a ph ae l
D
B art ol omm eo de ll a G a tt a i n w h o e li fe V a a i p eaks on ly of w ork i n th e Sisti ne C h ap e l
o mitti ng all men ti on of th o e h ere al l ded t o
T h ere i m ch c onf i on i n thi p age P i ero de ll a F ran c e c a and B m t i h a i ng
p a i n ted i n th e V a tican nder P p N ich ol a V B art ol ommeo de ll a G tta and L c a S ignorelli nder
S i xt
I V and onl y P er g i no and S ede ma d ri ng th e po tifi t of J li
II S P l a t ner and
B n en B ch r i b g d S t d t R m
T h e Sch ool of A th en
G eome t ric al and a tronomic al figure are h ere mean t A trono my and a tro l ogy were i den tic al
o
reader will remember wh en o
th e w o te i n th e i dea of al l b t th e l earned
Pungi l eoni
1
s
s
,
Vi ta d i R afi a elo , f ms
n
as no
u
s su
s
u
u
s
u
ra n e s c
,
u
,
o
u
us
as
.
v ere ,
.
9
s
,
s
s
s
3
u
s
u
u
s
,
e e
es
e
un
er
a
s
o
s
6
ur
as s
,
ra
s
a
,
n
ca e
an
u
u
us
.
v
no
u
ee
”
.
s
,
s
.
s
s
s
.
u
5
as
s
u
,
s r
.
us
u
u
s
,
s
us
,
.
on
4
u
ur a u
.
r
r
,
s
s
s
u
,
.
B ELL E JA R DI N l
LA
IN
TH E LO UV
l RE
B
RE AT PA R I S
,
.
.
b e a u ti ful p i c t re i s t h s n a m e d b e c a u s e t h e V ir gi n i s s i tt in g u p o a b an k o f
Th e H o l y M o t h e r
s t o n e s i n a m ea d w ri c h l y c o v e re d w i th p l a n ts a n d fl o w e rs
i s g a i n g wi t h un s pe a k a b l e s w e e tn e ss u po n t h e I n fa n t J e
w h o l e a n in g a g a in st h er
k n e e i s m i l i n g a t h e r w i t h a c o n te n a n c e fu ll f l o v e St Jo h n k n e e l i n g an d l ean in g
p o n hi s cr o s s i s w a tc h i n g h i s d i v i n e c o m pa n i o n wi t h te n d e r a dm i a ti o n A wi n d in g
r i v er a mi d m o un ta in s
d a t o wn i n t h e d i s t a n c e for m t h e bac k g r u n d
I t i s b e l i e v e d t h a t t h i s pi c tu re w as pa i n te d f r a gen t l e m an a t S i e n n a b efo r e
R a p h ae l w a s c a l l e d t o R o m e I t wa s a fte rwa r d s p ch a s e d b y Fr a n ci s I Pa s sa v a n t
u
u
n
o
.
z
,
u
sus,
s
u
o
.
.
,
,
r
,
,
an
o
,
.
.
o
.
ur
,
'
.
'
.
L I FE
them
.
15
.
the figures i n t h i s pa i nt i ng i s D i ogenes
A mong
l
P H A EL
RA
OF
wi
th h i s cup ; he i s
ly in g on the steps an extremely well i mag ined figure wrapt i n h i s own
-
,
,
thoughts and much
negl i gence
r a ct e r i s t i c
Pl a t e
his
in th i s
be commended
to
,
of
th e b eauty of the form and cha
fo r
the garments
T here are l ik ew i se
.
A r i stotle
and
the one w i th the T i m aeus the other w i th the Eth i cs i n
w or k ,
,
hand ; around them i s gathered i n a c i rcle a large school of ph i losoph ers
.
T he d i gn i ty of those astrologers and geometr i c i ans who are draw i ng var i ou s
fi g ures and characters w i th the compasses on a tablet i s not to b e desc ri bed :
,
a m on
hi s
g
these i s the figure of a youth of most
g raceful
beauty who extends
,
arms i n adm irat i on and i ncl i nes h i s head th i s i s the p o rtrai t of Feder i go
second D u k e of M antua who was at that t i me
,
i n R om e
,
T here i s also a
.
figu re st e e p i ng to the ground and drawin g l i nes w i th a pa i r of compasses
wh i ch he holds
h i s hands ; th i s i s sai d to be the arch i tect Bramante and
in
,
i s no less l ife l ik e than that of Feder i go previ ously descr i bed or than
-
,
would be i f i t were i ndeed al i ve
it
B es i de h i m i s one whose bac k i s tur ned
.
towards the spectator and who holds a globe of the heavens in h i s hand :
,
th i s i s th e representat i on of
of
Raphael
Zoroaster ;
and near to th i s figure stands that
h i mself the master of th i s wor k drawn by h i s own hand w i th
,
,
the ai d of a m i rror ; a youthful head
exceed i ngly modest express io n
of
wear ing a blac k cap or barett the whole aspect infin i tely pleas ing
,
an
d
?
graceful
W h at
a med l ey l ex cl a i m one of th e angry I ta lian a t thi de c r ipti on h e h c o pl ed
”
th
i
th e E ange li ts w ith D i ogene and Pl t and th a t
o me wh a t conf sed i n hi de c ipti on
of thi p a i n ti ng c anno t be den i ed ; h e h mi ngl ed th e p er onage of th e D i p t with th o e of th e
l d i A l ne ; b t h i c o m p a tr i o t h a e fall en on h i m for th e am e with
littl e mercy tha t w
S
m y pare h i m an y f n t h
re p roa ch e and th e ra th er w h a e a mpl e mean for t h re cti fi ca ti on of
”
”
i
h m i t a k e i n th e n m ero
b i ogra phi e
t rea ti e and d i erta ti on i n e ery f m on th e
w k of th e P ri n c e of P a i n ter w hich abo nd i n ll l angu age
Se R ich ard on Tr t i
P i ti g
d S cu lp t r
i
S
L ondon 1 8 1 6
A m terda m 1 728 ; D pp er Lif f Rafi l l
B e ll or i
D
l P l
V ti
i i
d l l I m m g i i dep i t I R f
&
Ro me 1 6 72
l l d Ur bi
Re h berg Q t émé de Q i n cy P l at ner and B n en Pa a an t w ith man y th
Th figure of Ra ph ae l i i n th e angl e of th e pict re and to th e ri ght of th e pe cta to r ; th e
ol der m be i de h i m and dre sed i n a i m il a manner i h i ma ter Pi et P er gi no
s
s
'
i
s
s
s
u
s
an
u
es cr z
one
e
a
ua r
.
2
e,
s
a
re
e
an
a
n
a
n e ( a
u
,
ae e
,
s
so
:
s
u e
a az z o
ss v
r
,
s
s
v
or
ea
,
o,
s e on
,
a n
,
a
ca no ,
o
,
,
e
e
ro
u
n
.
c
.
.
,
ers
.
s
s
s r
s
u
s
u
,
s
s
a nz
o
n o , ne
a
s
s
e
ae
s
s
s
ss
e o
u
.
s
s.
a
u
,
s
v
e
as
,
u
s s,
s,
us
s
as
,
s
s s
v
s,
er
or
s
as
u
s
s
or
e
our a u
a e,
,
oue a
s
s,
s
s
s
v
a
”
.
L I FE
16
RA
OF
P H A EL
.
would not be poss i ble to descri be the beauty and nob il i ty of character
It
wh i ch the master has i mparted to the heads
an
d
figures of the Evangel i sts ;
there i s a certai n ai r of med i tat i ve thought and attent i ve cons i derat i on on
the countenances more espec i ally of those who are wr i t i ng wh i ch i s depi cted
,
,
w i th the utmost truth
T h i s may be more part i cularly remar k ed in a S t
.
M atthew who i s copy ing the characters from a tablet wh i ch an
a
,
before
who
him ,
1
these he i s sett i ng down i n a boo k
B eh i nd
.
hi m
.
ngel holds
i s an old man
has placed a paper on h i s k nee and i n th i s he i s insert ing what S t
,
2
.
M atthew wri tes as the latter mak es h i s extracts from the tablet : i ntent on
3
,
h i s occupat i on he remai ns i n th i s inconven i ent att i tude
,
tw i st in g h i s head and j aws as
An d
if
an d
,
seems
to
be
to accompany the movements of h i s pen
.
to say noth i ng of al l these well cons i dered m inut i ae of wh i ch there are
-
,
nevertheless very many the compos i t i on of the whole wor k d i splays so much
,
beauty of proport i on and such perfect i on of arrangement i n every part that
,
the master d i d indeed g i ve a notable example of h i s capab i l i t i es there i n
,
an d
clearly proved h i mself t o be one who had resolved to reta in the un d i sputed
possess i on of the field agai nst
art i st adorned th i s
w or k
al
w i th
l
fin e
who handled the penc il
;
fu rthermore the
perspect i ve vi ews of magni ficent bu ild ings
and w i th numerous figures all fin i shed in a manner so del i cate and har
,
m e n i ons that the excellence
,
of
the wor k caused P ope J ul i us
to
have all the
stori es of the ot h er masters whether old or new destroyed at once resolvi ng
,
,
Raphael
that
,
alone should have the glory of see ing h i s wor k s preferred to all
that had been done i n pai nt i ngs of that descri pt i on up to
hi s
own ti me
4
.
no th er b l nder ex cl a i m
of th e Fl oren ti ne c ritic ; b t it i onl y th e c on ti n a ti on of
th at p re i o ly no ted d for whi ch o g d Gi org i o h al ead y been ffi ci en tly c a ti ga te d
l l y c a ll ed Em p edo cl e
T hi fig re h been
b t P a a an t will h a e it t o re p re sen t
A rchyta
V a ar i h ere mean t o i nd ic a t e th e fig re of P yth agoras which i i n th e foremo t gro p of th e
S ch oo l of A th en
and to th e r i ght of th p ect a t or
t th e
T h e fi t pi t p a i n te d by R aph ae l i n R o me w
Sch oo l of A th en ” a cc ord i g t o th e
a th or iti e w con i dered of th e greate t we i ght b t ra th er th e M m which V asari de c r i be s
exec t ed a t a l a t er per i od
A
1
v
u
u
ur
s
oo
as
u
s
r
u
su
s
.
‘
u su a
s,
u
ss v
v
.
s
s
rs
s no
u
s on e
an
as
s,
4
,
,
s
s
3
u
us
9
”
u
”
,
e s
s
s
.
c in e
‘
as n o
s
s
.
u
,
u
s,
u
,
n
s
as
SCHO O L
TH E
"
N
THE
C
HAMBER
or
TH E
O
F
ATH E N S
ss e s a r uaa
”
IN
,
.
TH E
AT I CA N
V
.
l eft a t t h e fe e t of t h e s t e ps i s Py t h a g o ra s sur ro un d e d b y a g r oup of h i s
pu pil s ; am o n g w h o m i s A r c h yta s An axa g ora s i s st an di n g ; H e ra cl i tus i s b y
h i m s e l f a n d D e m o c ri tu s s ur ro un d e d b y y o u n g m en i s l e an in g a g a in st t h e b a s e of a
c o l um n T h er e a re i n a ll thi rt e e n p er s o n s a m o n gs t w h o m t h e p a in t er h a s p l a c e d p o rtr ai ts
o f t h e D uk e o f U r b in o a n d Fr e d er i c k II Pr in ce o f M a n tu a
U p on t h e s te ps a t t h e l e ft
h an d are t h re e s o p h i sts n e ar t h e g ro u p of S o c ra t e s an d h i s li st e n e r s a m o n g s t w h o m i s
Al c i bi a d es ; i n a ll e l e v e n fi g ur e s
P l a t o a n d Ari st o tl e o c c u py t h e m i dd l e o f t h e p i c tur e
w i t h t h e i r d i s c i p l e s a m o n g s t w h o m i s Ze n o ch i ef o f t h e s t o i cs ; i n a ll si x tee n fi g u re s
Di o ge n e s i s s ea t e d on t h e steps b y h i m s e l f ; Ari sti ppu s ta l ki n g w i t h E pi c ur us i s p a ss in g
b y hi m Am o n gst t h e six fi g u re s on t h e r i g h t si d e th e r e a re t w o s c epti c p h il o s o p h er s
Pyr r h o a n d Ar c e s i l a u s a n d i n t h e g ro u p a t t h e fo o t c o m p o s e d o f n i n e pe rs o n s i s E u cl i d
o r p er h a ps A r c hi m e d e s i n t h e fi g u re of B ra m an t e te a c h in g m a t h e m a t i c s t o fo ur y o un g
m en
O n t h e ex t re m e r i g h t a t t h e b a se o f t h e p i c tur e P t o l em aeu s an d Zoroa ste r
r e p re se n ti n g ge o g ra p h y a n d a st ro n o m y a r e c o n v e rs in g tog e th e r w hi l e P e r ug in o a n d
R a p h ae l hi m s e l f ar e l i ste n i n g — P a ssa v a n t
,
,
,
,
,
,
,
.
,
.
,
,
.
,
,
,
.
,
,
.
,
,
,
.
,
,
,
,
,
,
,
,
,
.
L I FE
18
In
R A P HA EL
OF
.
the c i rcle wh i ch i s over the p i cture where i n the holy doctors are
read i ng mass i s a figure of T heology w i th book s and other obj ects around
her accompan i ed i n l ik e manner by the boys wh i ch are no less beaut iful
,
,
,
,
than those before referred to ; above the other w i ndow wh i ch loo k s towards
the court i s placed the figure of J ust i ce i n the fourth c i rcle namely ; she
bears the balance i n one hand and holds the sword ra i sed aloft i n the other
the boys are w i th her as w i th the previ ously c i ted figures and are of
,
,
,
O n the wall beneath i s represented the del i very of the
c i vil and canon law as w i ll b e related i n i ts due place
In the angles of the ce i l ing Raphael l ik ew i se executed four h i stor i cal
p i ctures des igned and coloured w i th extraord i nary care but the figures are
not of a large s iz e : i n o n e of these that next the T heology the master has
dep i cted the s i n of A dam i n eat i ng the apple and th i s he has executed in a
very graceful manner In the second wh i ch i s ab o v e the A strology i s the
figure o f that S c i ence ; s h e i s ass i gn in g the ir due places to the planets and
fixed stars I n the o n e belong i ng to th e M ount P arnassus i s the fig ur e of
M arsyas fastened to a tree and about to be flayed by A pollo ; and near the
p i ctur e wh i ch represents the promulgat i on of the D ecretals i s the j udgment
o f S olomon when he dec i des that the i nfant shall be d i v i ded between the
contend ing mothers A l l these four del i neat i ons exh i b i t much thought and
feel ing ; they are adm i rably drawn and the colour ing i s pleas i ng and
graceful
But hav in g n e w fin i shed the descr i pt i on of th e vaul t i ng or ce i l i ng of that
apartment i t rema i ns that we declare what was executed on each wall con
se cu t i v e l
O n the s i de towards
y and beneath the wor k s i nd i cated above
the Belvedere wher e are the M o u nt P arnassus and the fountai n of Hel i con
the master dep i cted a laurel grove of very deep shadows and t he verdur e of
the fol i age i s so finely pain ted that th e spectator almost fanc i es h i mself to
supreme beauty :
.
,
,
,
,
,
,
.
,
,
.
,
,
,
,
.
,
.
,
.
,
,
,
,
Pa a an t R f l
Ur bi
be fo nd re p e cti ng a ll th e e work
See
u
ss
s
v
,
a
ae
s
v on
s
.
n o,
w
h ere m i n t e de tail
u
ch
s, s u
as
cannot h ere find pl a c e
,
w
ill
THE
TH E
IN
C
JU D GM E N T
HA MB ER
or
O
F SO LO M ON
TH E
IN
TH E
.
V
A T CA N
I
.
t h e r i g h t S o l o m o n s ea te d u pon a thr o n e h a s j us t p ro n o un c e d j u d gm e n t A
yo u n g man h o l d s i n h i s l e ft h a n d t h e c h il d w h i ch h e i s a b o u t to c ut i n tw o I n
fr on t t h e fa l s e m o t h e r i s on h e r k n ees w h il e t h e tr e m o th er h a s te n s t o s ta y t h e
ex e c u ti o n o f t h e s e n te n c e —
P as sa v a n t
,
,
,
.
.
,
,
.
.
u
L I FE
OF
RA
P H A EL
19
.
perce i ve each separate leaf trembl i ng i n the gentle bree z e : i nnumerable
figures of nak ed
Lo v e s,
hover i ng i n the
they are gather i ng branches of the laurel wherew i th they
a ir ,
w i th i nexpress i bly beaut i ful countenances are
,
weave garlands wh i ch they then throw down and scatter on the mount
,
,
over wh i ch there does of a truth seem to be the sp i r i t of the d i vi ni ty
breath ing such i s the beauty of the figures
,
,
the noble and elevated
an d
character of the whole p i cture wh i ch awak ens adm irati on and aston i shment
,
i n all who behold i t when they cons i der that the human m i nd and mortal
,
hand wi th only the s i mple means of i mper fec t colours and by the help of
,
,
excellent draw ing has made a p i cture wh i ch appears as if i t were al i ve
,
.
T he figures of the P oets also d i str i buted over the mount are all most truly
,
an i mated
,
S ome are stand ing others seated some are wr i t ing or speak i ng
.
,
,
,
,
or s in gi ng others are convers in g together i n groups of four or
si x ,
accord i ngly as i t has seemed good to the master to arrange them
th i s
,
In
.
port i on of the wor k there are portra i ts of the most renowned poets anc i ent
,
and modern includ ing among the latter several who had l i ved or were l i v in g
,
at
Raphael
’
s own t im e : some of the older poets were tak en from statues
,
some from medals many from old p i ctures ; and others who had l i ved i n h i s
,
,
Raphael
own day were tak en from nature by
,
T o beg in w i th the
h i mself
.
one end we have h ere the portra i ts of O v i d
,
Enn i us
V i rg i l ,
,
T i bullus
,
,
C atullus P ropert i us and Homer : the last named bl ind and wi th the head
,
,
,
elevated i s pour ing forth h i s verses wh i le there i s a youth seated at
,
,
who wr i tes them as he s i ngs
N ine
M uses ;
an
d
.
T here i s also i n
group
one
A pollo
l
hi s
feet
w i th the
in all these figures there i s so much beauty the i r
,
co u n t e
nances have an ai r of so much d i v in i ty that grace and l i fe seem to breathe
,
T h e i ol which Ra ph ae l h pl a ced i n th e h and of A p o ll o w o l d bey ond all do b t be w ell
re pl a c ed b y th e ly re b t th e p a i n t er i be li e ed t o h a e g i en t h G d th e fi t na med i n t r men t i
wh
h ono r of th e th en ad m i red i mp ro i at ore and i oli n i t Gi ac om o S
d
h d i n pi red
R ph ael hi m e l f w ith grea t an ad mi ra ti on for th e i ol th a t h e c on i dered it w orthy to be pl ac ed i n
th e h and of th e G od of S ong F or a de ta il ed ex pl anati on of t h fig re i n thi w ork e Pas a an t
v
s
as
,
s
u
v s
u
a
s
s
v
s
v
so
.
v
v
v
u
e
o
u
,
rs
-
a n s e con
,
s
o
e,
a
,
u
,
n
s
s
,
e
u
s
s
,
se
s v
,
LI
20
from every feature
FE O F
RA
P HA EL
.
T here i s here portrayed the learned S appho and the
,
.
most d i vi ne D ante ; the graceful P etrarch and the gay Boccacc i o who are
all most truly an i mated and l i fe l ik e Teb al d er o i s al so here w i th man y
,
,
1
-
.
,
other modern wr i ters who are grouped w i th i nfin i te
race
and
pa
i
nted
w
i
th
g
,
extraord i nary care
O n one of the other s i des the master has dep i cted Heaven w i th C hri st
.
,
and the V i rg in S an G i ovann i B att i sta the A postles the Evangel i sts and the
M artyrs all enthroned am i d the clouds ; and a b ov e them i s the figure of G od
,
,
,
,
,
the Father who sends forth h i s Holy S pi r i t over them all but more part i
,
,
cu l ar l
y
on a vast company of S a in ts who are celebrat in g the mass below and
,
,
some of whom are in d i sputat i on respect i ng th e Host wh i ch i s on the al tar
,
A mong
2
.
these are the four D octors of the C hurch who are surroun ded by
,
numerous sain ts S an D omen i co namely w i th S an Francesco S t T homas
,
,
A qu inas ,
SS
Bonaventura S cotus and
.
,
,
.
,
N i colaus
D ante
Lyra
of
3
,
Fr a
G ir olamo S avonarola of Ferrar a, and all the C hr i st i an theologi ans are also
dep i cted w i th a vast number of portra i ts from the l i fe
,
In
.
the a i r above are
four C h i ldren who are hold in g open the four G ospels ; these are figures
,
wh i ch i t would not b e poss ible for any pai nter to surpass such i s the i r grace
,
and perfect i on
T he S ai nts are seated in a c i rcle i n th e ai r and not onl y does
.
,
the beauty of the colour ing g i ve them all th e appearance of li fe but the fore
,
shorten in gs and the gradual reced i ng of the figures are so j ud i c i ously
,
m anaged ,
,
that they coul d not appear otherw i se i f they were i n rel i ef ; the
draper i es and vestments are ri chly var i ed and the folds are of i nfin i te
,
T hi fig re i fre q en tly c a ll ed Sanna aro b t t on ery good gro nd —
S h
T h eol ogy i h ere y mboli ed b t th e pict re i m o t c ommon ly c a ll ed th Di p t e c on c ern i ng
t h Sa c ra men t
I t i a i d t be th e fi r t w ork p erformed b y Ra ph ae l i n th e Va tican or i ndeed
i n Ro me
I t i no t with o t good rea on ob er e an I ta li an c omm en t tor th at Ra ph ae l h pl a ed
D an t e am ong t h th eo l og i an
we ll
p oe t ; and th ere i n h e m y h a e foll o wed th e ad ic e of
A i o t o wh om h i k no wn t o h a e c on lted i n re p e ct t o th e p er onage t o be pl a c ed i
hi
w ork
1
s
u
Q
s
u
s
s
”
e
z z
s s
.
z
,
,
u
o
u
u
no
s
v
u
s
s.
c or n
e
s
s
.
u
,
.
3
s
u
e
r
s
s.
,
”
e
s
s
s
as
”
s
,
as
v
v
a
s
s
su
a
s
as
,
v
s
c
v
s
n
s
L IF E O F
R A P H A EL
21
.
grace the expressio n of the cou n te n a n ces moreover is celestial rather tha n
,
merely hu m a n
This is more particularly to be remarked i n that of the
.
Saviour which exhibits all the mild n ess an d cleme n cy of the divi n e n ature
,
that could possibly be prese nted to the human eyes by a mere p a in ti ng
Raphael
was in deed largely e n dowed with the power of i mpart i n g the
most ex q uisite expressio n to his faces
a n d the most graceful cha
,
to the heads of his pictures : of this we have a n in sta n ce
r a ct e r
.
the
in
V irgi n who with her han ds crossed o n her bosom is regard i n g her divin e
,
,
,
So n whom she co n templates with an expressio n which i mplies her perfect
,
assura n ce that he wil l n ot refuse forgive n ess
There is moreover a certai n
.
,
,
dign ity i n the figures of this master with a characteristic propriety which is
,
without doubt most beautiful ; to the holy Patriarchs he gives the revere n ce
of age to the
,
the ear n est simplicity which is pr e pe r to the i r cha
an d the faces of his M artyrs are radian t with the fai th that is
r ac t e r ,
stil l
But
A postles
m ore
richly varied are the resources of art
master has displayed
in
the holy
D octors ,
d
a n
them
in
1
.
ge ni us which this
who are e n gaged i n di sputation
an d are distributed over the picture in groups of six four or two
,
,
,
Their
.
features give toke n of a certai n eager curiosity but also of the earn est desire
,
they feel to discover the precise truth of the matter i n q uestio n : this is mad e
further ma n ifest by the actio n of the han ds a n d by various moveme n ts of t h e
perso n they be n d the ear with fixed atte n tio n they k n it the brow i n thought
,
,
,
an d offer evide n ce in the i r looks of surprise or other emotio n s as the con
,
,
,
te n d i n g propositio n s are prese n ted ; each
in
,
his ow n peculiar ma nn er but all
,
with most appropriate as well as beautif ul a n d varied expression
g u i sh e d
from the rest are the fo u r
D octors
D istin
.
of the Church who bei n g
,
,
remarks o th se h ead th a t th ey are i dee d full of tr u th b ut f t h
t r uth of p r t ra i tu r e as w a to b e e p ct ed fr om t h e p re v al e ce of i d a p r pe r t o t he F l ore t i
sh l
wh i ch th e
i flue ce d th e ma ne r of Ra ph a e l : i n s u ccee d i g work s a h aracte r f bea uty wh i ch i
more i d al w i ll b fou d to p r v a i l
See Passa v a n t a l so wh o agree w i th D e Q u i y i th e op i i o
h ere exp r d
1
Q uat rémere de Q u i n cy
o
n
n
n
e
e
ess e
.
x
s
,
n
e
s,
n
e
n
n
n
e
e s
n
.
,
,
s
o
,
o
c
n
ne
c
o
nc
n
n
e
oo
,
s
ns
R A P H A EL
L IF E O F
22
illumi n ated by the
Holy
.
Holy
Spirit resolve a n d explai n by the aid of the
,
Scriptures all the di fficulties prese n ted by the gospels which the boys who
,
,
are hoveri n g i n the air hold before them
O n the third side of the apartme n t that n amely wherei n is the other
.
,
w i n dow which looks upo n the court
Justi nia n ,
,
pai n ted o n the o n e part
R aphael
D octors ,
who is givin g the laws to the
,
l
,
for revi sal with figures of
,
an d Prude n ce above ; o n the other the Pope who
delivers the D ecretals or can o n laws ; an d i n this po n tiff Raphael has depicted
Temperan ce
,
2
F ortitude ,
,
the portrait of Pope Jul ius I I ; he has likewise executed portraits from the
life of Cardin al vicar Giovann i de M edici who was afterwards Pope Le o X
’
-
,
of Cardin al
A n to n io
A lessa n dro F ar n ese ,
de M on te an d the C ard i n al
’
,
Pope Paul
ultimately became
,
I I I with those of ma ny other perso n ages
,
who
3
.
The Pe pe was highly satisfied with all that was do n e ; an d to the e n d that
the wood work of the apartme n t should be worthy of the pai n ti n gs he caused
-
Fra
,
Giovann i of V ero n a to be summo n ed from the co n ve n t of M o n te
di Chi n suri a mon astery in the territory of Sie n a ;
Fr a
,
O liveto
Giovann i was a
re n ow n ed master in works represe n tin g p erspective views of bui ldi n gs formed
,
of woods in l aid ; a n d he n ot o nl y prepared the wai n scot arou n d the room but
,
also made very beautiful doors an d seats richly decorated
the perspective
in
,
orn ame nts for which he was famed an d which ac q uir ed for
very great
him
,
hon ou r with much favour from the Pope who rewarded him very liberally
,
,
I t is in deed certai n that
more able master than
Fr a
.
works of this kin d there has n ever bee n a
in
Giovanni a fact to which we have testimo n y still
,
i n his n ative city of V eron a ; this is prese n ted by the Sacristy of San ta M aria
in—
O rga n o which is most beautiful ly ador n ed with i n laid work represe n tin g
,
views i n perspect i ve
To Treb on i a nus
n
4
The choir of M o n te
.
am ely
,
who
is
a
ccom
Pop e G reg ory IX
F ra G i v a i w
a
arch i tect al o
M ar i a i O rga o w b u i lt aft r hi s d e i g
3
’
-
o
a-
n
nn
as
as
n
s
e
s
si x o
3
.
4
th r D t r i t h e L w —
S h
S
Pa a v a t l ii p 1 09
Camp a i l f t h ab ov —
d hurch
m ti
p a i d by
n e
The
.
n
.
-
di Chi n suri affords
O li veto
n
Ma ssel l i
'
.
e
ee
e o
oc o s
ss
e
n
n
,
e
a
vo
.
en
.
c or n
.
.
on e
.
.
c
of
S anta
MA DONN A
A LD O BRAN D INI
A
A
A E
"
N TH E N TI O N L G LL RY
.
.
a t e d u p on a ben c h i s h o l din g h e r m a n tl e b ehi n d t h e I n fa n t Je s u s
w h o l e an s a g a i n s t h e r b r e a s t a n d o ffe r s a pin k t o S t Jo h n w h o s t a n d in g on
t h e r igh t i s s t r e tc h i n g hi s l e ft h a n d t o ta k e i t w hil e h e l e a n s t h e o th e r w hi ch h ol d s h i s
c ros s
u p on t h e b en ch
Th e V i r gi n wh o s e h e a d i s s u r r o un d e d w i t h a g r e e n cl o th
s t r i p e d wi th g o l d i s c ar e s s i n g S t
Jo h n w h o we a rs a m a n tl e o f g o a t s ki n
Th i s pi ctu r e w a b ou gh t fro m t h e A l d ob ra n di n i Gall e r y b y Mr Da y w h o afte r
w a r d s s o l d i t t o Lo r d G a r v a gh — Pa 93a v a n t
T hi s p ain tin g w a s p u r ch a s ed for t h e Na ti on a l Gal l ery i n t h e y e a r 18 6 5 for t h e s um
H E V i r gin ,
se
,
,
.
,
,
,
,
,
,
,
,
.
-
.
,
,
.
s
,
.
.
,
.
.
,
o
f
—Ed
.
L IFE
R A P H A EL
OF
23
.
a n other proof of his skill as does that of S an B e n edetto di Sie n a : the Sacristy
,
of M on te
O liveto
di
N apoli
was
like ma nn er ador n ed by
in
Giovann i
F ra
,
i n the same place is the Chapel of Paolo da Tolosa which that master
and
,
also decorated i n wood
-
l
w or k
By all these labours he obtain ed much
.
ho n our from those of his order by whom he was ever held i n the highest
,
est i matio n u ntil his death which took place i n
1 537 ,
,
the age of sixty eight
N ow
-
.
whe n he had attai n ed
of this master as of a perso n who was truly
,
excelle n t an d remarkable i n his art I have thought it well to make me n tio n
,
thus far for it appears to me that his tale n t has well merited so much seein g
,
,
that we are in debted to it for the fi n e works that were afterwards executed
man y other masters to whom
by
,
Raphael
B ut to retur n to
.
F ra
Giovanni laid O pe n the way
Hi s
powers n ow became developed to the
.
utmost a n d he received a commissio n from the Pope to pai n t a seco n d room
,
i n the V atica n ; that towards the great hall n amely
this time also our
At
.
,
,
artist who had n ow ac q uired a very great n ame depicted the portrait of
,
,
Pope Julius
This is an oil pain tin g of so much an imatio n a n d so
himself
.
,
true to the li fe that the picture impresses o n all beholders a se n se of awe as
,
it were in deed the livin g obj ect ; thi s portrait is n ow preserved i n the
church of San ta M aria del Popolo together with a ve ry beautiful M ado nn a
if
2
,
,
executed at the same time by the same master
which represe n ts the
In the last n amed picture
.
,
of Chr ist the V ir gin is coverin g with a veil
N ativity
,
3
her div i n e Child ; the expressio n of whose cou n te n a n ce is of such
w o n derful
rat i s i woo d w rk a a i d t o h a ve b e d troy ed i 1 52 7 wh Ro m w
plu d r d o re ad r w i ll r m mb r ;
v t wh i h took pl a i t he po t ificate of C l m t VII
N ow i F l r
i t h P i tt i Pal ac w h r th e re i a l
a c py f t h a me work T h e re i a
rep li ca o d upl i ca te i th e T r i b u e of t h e Ufli j i t h sa me i ty T h a t i o N a t i o a l G all ry
d oth r cop i s e Pa a v a t
b fo i t d
ee d
me t i o h e re
Fo t h e m a y d upl i ca t s
v ar iou s p i ctu re of t h V i rg i th rowi g a v e i l ove r o remov i g i t fr m t h
Lo gh e a me t i o
d i vi C h i l d b ut of th i wh i h comp r i t h e figu re of S t Jo ph we do ot fi d i t p o i b l e t bt i
Th e m o t p r bab l co j tu r i th a t i t w t h
y i forma t i o th a t i s e t i r ly sa t i factory
”
S
d R ph l
Mad a d i L oretto
call e d t h e
La do E w
d wh i ch h
ow d i a pp ar d
S
al o Pa av a t ab ov ci t d ol ii p 1 2 6
Th
n
e e
,
3
n
,
an
n
e
n
s
ss
n
,
en
e,
e e
n
e
e
,
e
e
ce
s
n
e
v
as n
.
.
c
an
.
.
,
,
se
e
n
,
o
e
e
.
ur
n
ss
n ec
ee
e
n
as
en
.
s
.
n
s e
e
e
e s
o
n
n
en
n
.
e
e
s
n
o
e
s
.
an
,
so
.
s
n
es
c
se s
c
,
as
an e
s
n
en
z
r
onn
ee
e
s
n
s,
n
e
ns
n
,
re
o
e
.
n
n
-
n
,
n
ne
o e nce
n
n
e s
r
s no
3
on
e co
ur
as
‘
n
d
e se
,
n
as
e
r
n
n
ss
re c
e
t
r es
.
e
o
o o
a n
e
one
as
s
n,
e
c
a
ae
.
L I F E O F R A P HA E L
24
.
beauty a n d his whole perso n so clearly demo n strates the divin ity of his
,
origi n that all must perceive him to be truly the So n of God
,
Nor
.
are the
attitude an d coun te n a n ce of the M adonn a less beaut i ful they exhibit the
,
perfectio n of grace with a n expressio n of m i n gled piety an d glad n ess
is also a St
stan di n g with both his han ds supported o n a staff an d
Joseph
.
There
.
,
con templatin g the Ki n g an d Q uee n of Heave n with the adoratio n of a m ost
righteous old man Both these pictures are exhibited t o the people o n all
,
.
occasio n s of solem n festival
Raphael
.
had at this time ac q uired much fame i n
R ome ,
but although he
had the graceful mai mer which was held by every o n e to be most beautiful
an d saw co n tin ually before
hi s
,
eyes the n umerous an ti q uities to be fou n d i n
that city a n d which he studied co n ti n ually he had n evertheless n ot yet
,
,
,
,
give n his figures that gra n deur a n d maj esty which he always did impart to
them from that time forward F or it happe n ed at the period to which we
.
n ow refer that M ichael A n gelo had made such clamours i n the Sistin e Chapel
,
an d give n the Pope such alarms that he was compelled to take
fl ight ,
,
i n F lore n ce
sought refuge
,
,
Raphael ,
that he might u n derstan d M ichael
thus afforded to him caused
permitted him to see it to the e n d
,
A n gelo
Raphael
’
s modes of proceedin g
’
,
A nn a
A n drea
of
1
The sight
.
in sta n tly to pai n t a n ew the figure of the
prophet I saiah which he had executed i n the Church of Sa n t
the San t
an d
W hereupo n B rama n te havi n g the key of the
.
chapel an d bein g the frie n d of
’
,
A gosti n o ,
above
Sa n sovin o although he had e n tir ely fi n ished it ;
,
a n d i n this work he profited to so great a n exten t by what he had see n in the
l i or a t e d
that his ma nn er was thereby i n expressibly ame
A n gelo ,
works of M ichael
"
an d e n larged receiv i n g the n ceforth a n obvious in crease of maj esty
,
.
T h at Raph l h oul d r tly v i i t t h work f M i h a l A g l b y t h m a h r d r i b d ”
b
Ita l i a wr i t r i v ry u l ik ly b ut t h fa t th a t th r w r ma y wh woul d t h a v
m y h av
rupl d t d
ugg t d th u p i i t M i h a l A g l d h i f ll w r
It i
b i d w ll k w th at th S i t i C h a p l w th r w p t t h pu b l i ab ut th e t i m wh e th i
r t v i i t i a i d t o h a v ta k pl a
1
ae
o serv es a n
sc
es
s ec e
e
o
es ,
e
s
so,
no
s s
s ec e
e
n
o
s
a
s
,
e s
n
e
e
s
e
n
es e
s
en
ne
ce .
e
e
s o
,
e
e s s
e
as
c on
o
c
e
n
c
o
n o
e o
e e
c
e
en
o
n
e
e ns
e
e e
n
e o an
c
o
o
e
esc
o
s
o
e e
no
e s
e
,
e
”
s,
.
n
s
GA LA I EA
’ ‘
A E
"
N TH E F R N SIN
A PA LA CE
E
RO M
'‘
Al
,
.
po n t h s e is s t a n d in g with re in s i n h e h a n d s i n a l a r ge
A T r iton swi mm in g
s h e ll d ra wn b y t w o d olphi n s whi c h a r e g u i d e d b y a C u pi d
B e hin d h i m
n t h e l e ft h a n d i s t r yi n g t o e m b r a c e a n y mph w h o i s r id i n g
n h i s b a ck
O n t h r igh t i t h e b a ck
i s a s e a h o r s e r i dd e b y y oun g m an w h o i s b l owi n g a c on ch a
g r oun d i s ano t h e r n ym ph se a te d o n a Tr iton A thi r d T ri to n i n fr on t i s s o un di n g a
tr u m p e t T h r e e Cupi d s i n t h e a i a r e s h oo tin g arr ows n d f u r t h h a l f hidd by t h e
clo u d s i s p r e p a r i n g h i s h o w
T his fre sco i s s t i l l i n a n e x c e ll e n t s tate o f p r e s e rv a tion i n t h e g a l l e ry o f t h e h o u s e
n d ou b t e d l
o f A g o s ti n o Ch i gi n ow c a ll e d t h e F a rn es in a p a l a c e w h e r e i t w s
y p ai n t ed
b y Ra ph a e l him se l f —I sa w a t
A LA TEA , fl oa ti n g
u
e
r
a,
o
,
-
,
o
,
n
a
,
,
,
.
e
.
r
,
a
a
o
,
.
,
,
,
,
’
a
n
.
a
,
n
,
,
.
.
,
.
,
u
en
L I F E O F R A P HA E L
26
.
figures are co n sidered to be the best a n d amo n g so ma n y beauti ful the most
,
beautiful seei n g that
the wome n a n d chil dre n represe n ted there is the
in
,
,
very perfectio n of truth a n d a nimatio n ; the colour i n g moreover is faultless
,
,
‘
.
hi s
This work caused the master to be most highly extolled both durin g
,
life an d after his death bei n g as it was the most remarkable an d most
excelle n t o n e that
,
,
,
R aphael
ever executed
e n treated by a Chamberlain of Pope Julius I I
2
bei n g ear n estly
to pain t the picture for the
.
Coeli he therein depicted the M ado nn a
Ara
high altar of the chapel of the
R aphael
.
,
repos i n g o n the clouds of heave n a n d with Sa n Giovann i Sa n
F ra n cesco ,
,
,
,
an d
San Gir olamo robed i n the vestme n ts of a cardi n al in a beautiful lan dscape
3
,
,
be n eath
In this vir gi n there is the expressio n of a modesty an d humility
.
truly worthy of the M other of Christ : the divin e Child
,
O ur Lady ;
ex q uisite beauty is playin g with the ma n tle of
,
a n attitude of
in
the form of San
Giovann i gives clear proof of the fastin g to which his pe n ite n tial discipl i n e
has subj ected him whil e in the expressio n of his cou n te n a n ce o n e reads the
si n cerity of his soul together with a fran k an d cheerful sere n ity proper
,
,
,
,
to those who far remove d from the i n fl ue n ce of the world look dow n o n it
,
,
with co n tempt a n d i n their commerce with ma n ki n d abhorrin g all duplicity
,
,
devote themselves to the promulgatio n of truth
The head of San Girolamo
.
is raised his eyes are fixed o n the V irgi n whom he is regardin g ear n estly
,
An d
W
,
,
.
i n the eyes thus raised there are to be perceived all that lear ni n g a n d
isdom which are made ma n ifest in his writi n g s
W ith a moveme n t of both
"
by Ra ph a l ft r t h e S i st i e C h a p l h ad b e pu b li cly op e e d Q at ém e e de Q u i cy rem ark f
Ra ph a l th a t o far from h a v i g i mi ta t d M i ch ae l A g l o i th figure i t m i ght b e suppo d th a t
h h ad i f t d e i g d t o m ak m a i fe t i h i ow p rod u ct i o w h a t i t i th a t t h e wor k of B u o arr ti
wa t s t o b e p rf ct
T h ese d mi rab l e p a i t i gs of th e C hu r h cal l e d D ell a Pa h av i g u ff r d mu ch fro m t i m
w re ca r fully r e t r e d
me y e ars s i e b y P l m a oli —Mass l l l
t
d P s
Si g i m d o C t i of F l i g o p r i v ate sec re ta ry t P op J l i u
d a l ar e d h i tori a
S t Je rom
C o t i i a i d t o h av e mma d d thi p i tu re t o b p re t d t o th V i rgi i gra t i tu de f r he
i t rposi ti o be twee h i m el f d a fla h of l i ght i g o as oth e r accou t h a v e i t a sh ell wh i h h d
e
e
e
n
e
a
s
,
ac
n
n
ne
n
n
n e
n
s
e
n
n
r
n
r
es e
s
o
se
s,
n,
c
nc
on
e
.
n
n
so
on
3
s
n
n
u
.
n
s
o
.
s o
s
e
e
a
2
n
”
e
e
en
n
s
e
e
e
u
n
ce
a
r
e
.
o
,
e
z an
u
n
as av a n
s , an
e,
e e
s
e
.
n
s
n
.
.
s s
co
n
s
an
n
e
s
s
c
e
n n
,
r,
se n e
e
n s
n,
,
r
o
n
,
c
a
TH E
MA D O N N A
"
N TH E
A
A
DI
V TI C N ,
FULIGN O
AT RO M
E
.
.
a te d i n a g o l d e n glo r y u p on t h e c l ou d s i s s ur ro un d ed by a v a s t
Th e H oly
n um b e r o f a n g e l s ligh tly p a in t e d u p on t h e a z ur e b l ue o f h e a v e n
Moth e r i s h ol d in g t h e In fan t Ch ri st b y t h e l e ft h a n d an d b oth a r e l oo kin g d ow n u p on
t h e d on o r o f t h e pi ct ure Si g i s m on d i Con t i w h o k n e e lin g in a d o ra ti on i s d i r e ct e d b y
On t h e l e ft s t an d s S t Jo hn t h e B a p ti s t an d b e fore h i m i s S t Fr a n ci s
S t Je r o m e
kn e e li n g i n e cs t as y
A li ttle an ge l s ta n d in g b e tw e en t h e t w o gro up s b e a r s a t a bl e t
o n w hi c h w a s form e r l y in s c ri b e d t h e na m e of t h e d on or
Fo r m o r e th a n t w o c en t uri es thi s pi ct ur e h un g a s a n a l tar pi e ce in t h e Ch ur c h o f
I t w a s ta k e n b y t h e Fr en ch t o Pa ri s a n d t h e r e t r a n s fe rre d t o
S a in t An n e a t F uli g n o
A fte r t h e t r e a ty o f p e a c e i n 1 8 1 5 t h e p i ctur e w as r e turn e d t o
can v a s a n d r e s t o r e d
I ta ly n o t t o t h e Ch u r c h a t Fu l i g u o b u t t o t h e V a ti c an wh e r e i t n ow i s —
Pa s s wv a/
nt
E V i r gin ,
se
,
.
,
,
,
.
.
,
.
,
,
,
.
,
,
.
,
,
.
-
.
,
.
,
,
,
,
.
.
L IF E
R A P HA E L
OF
27
.
the han ds he is in the act of recomme n di n g the C hamberlai n to the protection
of O ur
i
a n d the figur e of that
Lady ;
C
hamberlai n
an imated tha n the o n e here pa i n ted
re
n ature in t he Sa n
exte n ded
F ra n cesco ;
Nor
.
in
actual life is scarcely
is there less of tr uth an d
he is k n eeli n g o n the earth with o n e arm
,
a n d the head raised as he turn s his gaz e aloft towards the
,
,
M ado nn a ; he is depicted with a glow of pious a ffectio n in his coun te n an ce
every l i n e of which is beami n g with the holiest emotio n
,
The feat u res a n d
.
complexio n show that the sain t is con sumi n g away i n pious resig n atio n but
,
is receivin g comfort an d life from the most ge n tle a n d beautiful looks of the
M other as well as from the sovereig n lovelin ess of the divi n e Child
,
n t re
.
of the picture a n d immedi ately be n eath the V ir g in is a boy ;
hi s
,
O ur Lady ,
is raised towards
a n d he bear s a tablet i n his han ds
In the
1
head
I t is n ot
.
possible to imagin e a n yth i n g more graceful or more beau t iful tha n thi s child
whether as regards the head or the rest of the perso n
,
There is besides a
.
lan dscape of sin gular beauty a n d which is executed to the highest perfectio n
,
i n every part
Raphael the n co n ti n ued his work i n the chambers of the V atican where
.
,
he depicted the M i racle of the Sacrame n t or the Corporas of Bolse n a which
,
ever
it
may be c alled
see n to have
se q ue n ce
of
hi s
,
In thi s story the Priest who is readi ng the M ass is
.
,
face glowi n g with the shame which he felt whe n in co n
,
Host
ow n u n belief he beheld the
hi s
,
,
bleedin g o n the Corporas
,
as a reproof for his wa n t of faith ; terri fied at the looks of his hearers he
,
has lost
al
l
sel f possession an d is as a
-
,
m an
of o n e utterly co nfou n ded the dismay that
,
beside hi mself ; he has the aspect
h as
sei z ed him is ma n ifest in his
attitude an d the spectator almost perceives the trembli n g of
,
han ds ; so
hi s
fall n ne ar hi s h ou e a t th e i e ge of F ul ig o I allu s ion to th i s ci rcu msta ce a fie ry ball i ee
p as i g ov e r t he l an d ca p e
T h i s p i ct ure i s all ed th e M ado n a of F ul ig h a v i ng bee re mov d from t h Chu rch of t h
uest of a i ece of C o t i who was a mm a t t he co ve t of S an t
A a Ccel i to th a t c i ty a t t h e re q
A a ca ll e d Le Co t as t
u est io was among th ose ta k en to Pari wh ere i t was
Th e work h re i q
tran fe rre d fr om p a e l to canv as : i t i s now i t h e V a t i can
s
e
n
s
s
s n
.
n
n
n
no ,
n
’
,
nn
s
,
n r
n
n
,
n
s
n
.
c
r
s
,
.
e
n
n
s,
e
e
e
n
s,
n
.
n
R A P H A EL
L IFE O F
28
.
in
well are the emotion s i n evitable from such a circumstan ce expressed
the
A ro u n d the priest are man y figures of varied character ; some are
servi ng the M a ss others k n eel i n be a utiful attitudes on a flight of steps
work
1
.
,
,
,
,
moved by the n ovelty of the occurre n ce exhibit their aston ishme n t an d
emotion in divers gestures som e givi ng evide n ce of a desir e to ack n owledge
an
d
,
,
themselves guilty of error
Am on g the l a tter is
an d
holding a child
an d
,
m en
this is perceived in
as well as
at the lower part of the picture seated
on e
,
in
on
wome n
.
the earth
her arms ; she is liste n in g while an other relates the
in
circumstan ce tha t has j ust h a ppe n ed to the priest ; ful l of won der she turns
towards the speaker with a femin i n e grace
characteristic
an
life like
d
2
-
is heari ng the M ass
,
d
an imation that is tr uly
the other side is the Pope Julius I I who
On
.
an
,
admirable part of the work
an
Sa n
depicted the portrait of the Cardin al di
other person ages also from the life
,
d
an
,
,
Raphael
here
has
3
Giorgio with a vast n umber of
,
The break caused by the window was
.
turn ed to accou n t by the master who hav i n g there represe n ted an asce n t in
,
the for m of a
sole picture
fli ght
na
,
y
each side i nto
on
,
on e
he has eve n made it appear that if this ope n ing caused by
,
the win dow had
4 a rran ged
of stair s thus makes the pai ntin gs
bee n there the sce n e could
n ot
,
have bee n so well
n ot
I t may i ndeed with truth be said of Raphael here as elsewhere
.
,
that as respects inve n tion
an d
,
the graces of composition whatever the story
,
may be no artist has ever shown more skill more readi ness of resource or
,
,
,
a more admirable j udgm en t than himself ; a fact of which he has given
further
in
proof
this s a me place where in the opposite picture he
San Pietro
represe n ted
h as
,
thr own into a prison by H erod and gua rded by
‘
,
T h i m i r cl e i i d t o h v t k pl c i t h y r 1 264 d u d r th p t i fi te of U rb
IV wh i ti tut d th f t i v l f th C rpu D m i i i c q
u c th r f —B tt r i Th f t i v l
c ll d w
v r th l
r l t r Ed F l r 1 832 8
o t u i v r lly c l b r t d u t il fifty y
Th M i r cl
fB l
p i t d i 1 51 2 —Ed I l r 1 832 8
w
R ff ll R i i wh o m d h i m l f c
p i cu u b y hi h t r d t t h H
f M di ci g i t
wh i ch h t w i c
rg iz d c p i r cy —S h m
C l l d L S rc r zi d i S Pi tr —
Edi ti
i
N t t th G m
f V
o
,
so
a
e
s
a
s sa
ns
e
e
as n e e
‘
2
e
3
a
ae
e
o
e o
a
e
a
es
e es s n
a
e o
a
e
ca
o
n
o se n a
ar o,
an
a
a e
a
a
e a
on s
one
en
e
o
e sa
”
a n e
se
a
.
an
n
c o
o
,
ons e
an
.
.
o s
s
n
en e
ea s
n
n
ons
e
ea
n
a e
e e
as
e
o
s
e
n
a e
e
e eo
a e
’
o
a
e
o
er
an
e
o a
.
-
.
on
.
o
ca
an
e
.
-
.
.
o e
o
e
a
.
-
.
.
e
ous e o
e
,
.
”
es
on o
a sa r
.
a
a ns
R A P H A EL
L IFE O F
soldi ers
The architectural details here depict ed
.
of t h e priso n are treated
w ith
,
a
an
29
.
d
the simple deli n eation
so much inge n uity that the works of other
rtists whe n compared with those of
,
R aphael ,
seem to exhibit as much of
confusion as do that master s of grace and beauty
Raphael
’
.
.
co n stan tly
e n deavo ured to represe n t the circumstances which he depicted as they
are described or writte n
characteristic obj ects
an
,
i n hi s
d
to assemble o nl y the most appropriate
works as for example
,
in the
where he reveals to us the wretched n ess of the priso n
.
an
d
picture before us
,
B ound with chai n s
,
that aged man is seen exte n ded between two soldiers ; the deep
an
d
heavy
sleep of the guards is rendered fully mani fest as the resple n dent li ght
,
proceedi n g from the A n gel i l lumin es the dark n ess of ni ght
,
an
d
causes the
most minute particulars of the prison to be clearly discer n ed ; the arms
of
the sleepers sh i ne so brill ian tly that the i r burnished lustre seems rather
to
,
belo n g to things real
pictur e
N0
an
d
palpable than to the merely pai n ted surface
.
an d
less remarkable are the art
the same picture ; that
n
inge n uity displayed in an other part of
amely where freed from his ch ai n s the A postle
,
,
w al ks forth from his priso n accompan ied by the A n gel
,
of St Peter there is evide n ce that he is a
.
in
a dream and
,
an d
n ot
as
on e
awake
m an
cou n te n ance
Equally well expressed are the terror
.
dismay of those amo n g the guards who be i ng outside the prison he a r
,
sleepin g co m pan ion s ; the light
l
In t h e
.
who feels him self to be acti n g
,
,
the clan g of th e iron door ; a se n ti n el with a torch
al
of a
,
he
.
his han d awake n s his
,
holds is reflected from their armour
that lies withi n the place which the torch has
the M oon
in
This admirably co n ceived picture
n ot
,
an d
reached is lighted by
,
R aphael
has placed over the
window at the darkest part of the room ; it thus happe n s that whe n the
,
spectator regards the pai n ting the light of day strikes
,
beam s of the
n
atural light min gle
the ni ght as see n
in
.
an
d
on
his eyes
an
d
the
conte n d with the di ffere n t lights
of
the picture the observer fancies hi m self re a lly to behold
the smoke of the torch
,
,
an d
the sple n dour of the An gel
,
al l
which with the
,
RA P H A E L
L IFE O F
30
d a rk shadows of the ni ght
so
a re
,
n
atural
an
d
so true that
1
on e
woul d
be real so powerfull y has
to
,
artist ren dered this most difficult subj ect
no
,
ever a ffirm it to be pain ted but must believe it
ou r
.
,
The play of the shadows
.
on
the a rms the flickerin g reflectio n s of the light the vaporous haloes t h rown
,
,
a
roun d the torches the dim u n certain shade preva ilin g in certai n parts ; all
,
are p a in ted
declare
such a man n er that con templating this work
in
on e
,
Raphael
of a
to be in deed the master
ll
masters
cann ot but
N ever has pain tin g
.
which purports to coun terfeit the n ight bee n m ore truly similar to th e re a lity
than is this which is of a truth a most divin e work
,
by com mon con sen t to be the most extraordi nary
ki n d
,
and
an
d
is i n deed admitted
b e au t ifu l
most
of
its
.
On
of the un broke n walls of the chamber
on e
Raphael
,
then depicted the
worship of God as practised amon g the H ebrews with the A rk
,
Pope
Can dl esticks ; here also is the figure of
ava riciou s i n truders from the T e m pl e
beau ty
an d
2
In
.
an d
golden
Julius who is driving the
,
this work which is of simil a r
,
excelle n ce to the n ight piece described above several portraits of
-
,
person s then livin g are preserved to us in the person s of the bearers
3
w ho
support the chair where i n Pope Julius is bor n e alon g ; the figur e of the
Pon t i fl
'
is most life like
W hil e the popul ace among whom are man y
-
wome n m a ke way for
,
approa ch
ar m ed
o f an
.
,
H olin ess to pass they give to V iew the furiou s
hi s
,
m an
on
horseback ; he is accompan ied by two others
rl ie t i ght p i ec e p a i te d by t h e Itali a rt i t a d i t m as terly t re t me t
h
e
ti g ad mi ra t io f th e w or l d It w th fi t p ai te d ft t h
e a uth or t h e l
cc s i of L o X d d oub tl e re fe rs t o h i s re m rk able li bera ti o from th F r ch aft e r th e b a ttl e
of R v e
a
It was fi i she d i 1 5 1 4 S e Passa t ol i p 1 98 ol ii p 1 60
O thi s p i ctu r e wh i ch rep re ent s t h m i r cul u e x pul s i o of H eli od
from t h e T empl e
G iul i o Rom o i s i d t o h v work e d t o a c o i d r b l e e x te t It w s compl e te d i 1 5 1 2 co
se q
ue tly b f r th t p re vi ou sly so m uch e x toll e d b y V asa ri —Ed F l o r 1 8 32 8
The for mo t of th se b e e rs i t h e p o rt r i t of t h c oppe r p l a t
gr ve r M arc A to i
Ra i mo di
hi opp os i te co mp i o i
a i d to b e th a t of G i ul i o Romano
B e h i d t h Pope st d t h e
S c r ta ry of M e mori l
wh o h ol d a p ap e r i
I o Pet a d e F a l c
i
h i h a d wi th t h e i c r i pt i
C em o ens —
B ott r i
See a l o P ss a t vol i p 1 94 ol ii p 1 5 6
1
as
a
s
Thi i
cu r d th
s
s one of
th e
s
ea
e
e s on
a
nn
2
,
an
n
n
a
e o e
a
e
s
3
n
s
n
s
e
,
o
v
.
.
ar
s
an
n
.
n
er
e
.
.
,
a
.
n
-
.
e
a
o rus
.
a
n
n
en
.
n
e a
s
v
a
rs
e
e
,
.
.
e
as
s
n
n
a
ns
s s,
.
va n
e
.
a e
s
:
o
a
,
an
n
an
ss
n
.
n
n
as
e
s
-
n
e
-
s s
.
en
n
.
n
,
a
e
n o
n
,
,
an
s
'
e
'
r
e
a s,
n
.
a
.
s
s
a
av
n
,
n
s
n
.
.
.
ns
,
,
v
.
.
.
on ,
.
r
a re s
H ELI O DORU S
"
N TH E
C H AM BE R
D RIV E N F R OM T H E T E M P LE
H ELI O DO R US ,
or
”
IN
TH E A T C A N
V
I
.
.
tte m pt ed t o s e i z e t h e g u a r d e d t r e a sur e in t h o T e m ple o f
J e u sale m i s b e i n g d ri v e n ou t b y a n a ppari t i o s e t b y God (See M a c c a b e e s
b o k I t ch a p ii i v
I t h e i n t e ri o r o f t h e te m pl e i t h e ch i e f p r i e s t O n i a s an d
p rs on s i n p r y e r b e fo r e t h e t a b e rna c l e a n d t h e c n d l es ti c k wi t h s e v e n b ran ch e
H e li od or us h a s fa ll en on t h e g r o u n d a d h i s s o l di e r s h a v e t a k e n fli g h t p ur s u e d b y
c e le s ti al h o r sem an a n d t wo n g el s wi th c u r ge s On t h e l e ft h an d t h p eop l e a r e
o l l e c t e d a m on g s t w h om t h e r e a r e s ev e r l w o m e n w h o s h ow
g r e t en t h u s i a s m a t t h e
s i g h t of t h e di vi n e h e lp
In t h e fo r e g r o un d Po p e Ju li us II s e te d on hi s c h ai r h om e
b y fo u r m e
c on tem pl a te s t h e s c en e Th e fi r s t o f t h e fo ur b e a r e r i s t h e c el eb ra te d
e g r v e r M a r c An t o i o R a i m on d i
Th e s econ d i s p e r h a p s Gi ul i o R om an
ELI Q D O RU S
r
o
.
,
wh o
a
n
,
.
e
.
a
,
o
a
.
a
s
.
n
.
a
,
,
,
e
.
,
.
a
,
s
,
n
,
n
a
n
-
a
,
c
,
.
s
n
.
n
a
s
o
.
R A P H A EL
L IFE O F
32
which they so truly merit
an d
,
a
mon g the various
others w hi ch he has collected ; his
tiquities
in
marble relievi
,
pictures and design s are also
ow n
,
an
.
of such merit that man y well acquain ted with art have bestowed
,
,
,
the highest comme n dation s
on
N or will I omit to me n tion that M esser
.
them
N icol o
M assini from whom it is that I have received i ntelligen ce of these thi n gs is
,
,
himself a sin cere lover of our arts as he is the frie n d of all other good a nd
,
praiseworthy e n deavours
But to return to Raphael
.
n eat e d
the ceil in g above these works he deli
In
.
four pictur es : the subj ect of the first bei n g the appearan ce of the
A lmighty Father to A braham to who m he promises the co n tin uation of his
,
race ; that of the secon d the sacrifice of I saac ;
,
an
d
of the th ird Jacob s
’
,
dream ; while the fourth represen ts M oses stan ding before the burn in g bush
In
thi s work the k n owledge of art rich power of in ve n tion correct design
,
,
,
exqui site grace which distin guish our artist are no less man i fest than
an d
,
the others whereof we have made me n tion
An d
.
,
in
.
whe n the happy ge n ius of the master was effecti n g such
n ow ,
wo n ders the en vy of fortun e deprived of l i fe that pon tiff who was the especial
,
protector
an
d
support of such tale n t while he was the zealous promoter of
,
every other good
Le o X ,
an
d
useful work
1
Julius I I died but was succeeded by
.
.
,
who forthwith comman ded that the labours comme n ced shoul d be
con tin ued
Raphael
The ge n ius of
.
was now exalted to heave n
received inn umerable proofs of favour from the
havi ng e n cou n tered a pri n ce so great and
devolved by hereditary desce n t
on e o n
,
,
an d
pon tiff fortunate
n ew
,
he
in
whom the love of art had
2
.
Thus e n cour aged
an d on
,
R aphael
devoted himself with all his heart to the work
an other wall of the same apartme n t he represen ted the A pproach of
A ttila towards
Rome ,
an d
his en counter with Pope
th F b r y 1 51 3
F
th
er i c
to rt p rf rmed by J ul i u II
wi th b th th e se P tifl
see P
t
ab ov e c i t d
1
On t he 1 3
9
or
o
,
e s
e
v
on
es
s,
uar
a
,
Leo
I I I by whom he is
,
.
e
o
assa v an
s
,
as
,
e
,
and
v ol
.
L eo X ,
i p
.
.
and
2 05 , et
for t h e
q
se
.
co
nne
ct io
n of
Ra
ph a l
e
T H E M AD O NN A
E S CE
DEL P
I N THE ES C U R I AL M A D R I D
,
.
.
E Vi gi n sea te d
t h r on e i s h o l di g n h e k e
t h e I f t J es us w h o i s
b en di g t ow a r d s T o bi
wh h s
fi sh i n h i s h an d
Th e an g el R a p h a e l i s p e
t
th
s e ti n g T o b i
O t h e ri g h t S t J e r om
H ly I f t
h i s li on t h i s fe e t i s
s t an di g
e a r t h e t h r n e r e a d i n g a l a r g e b oo k
A l ar g e c ur ta i n for ms t h e b ac kg r oun d
Thi pi c tu e b i g h t i to e t h e M d onn a di S S i st p r h ps sur pass es t h at
m as t pi e c i n ex p r e ssi n
I t w o u l d b e i m p ossi b le t o r en de r wi t h b e tte r e ff c t t h e
m j e s t y o f t h e V i r gi n t h goodn es s an d se r eni ty of t h e I fan t J e sus t h e t i mi d e x p r e ss i o
—
P
a t
of T ob i as o t h e m an ly d i gni ty of S t J e r om e
r
on a
,
n
n
n
as,
o
as
n
o
s
r
er
,
,
r
a
n
r
a
e
n an
,
r
.
n
.
o
e,
.
a
,
.
n
o
a
n an
o
,
r
e
,
o
e
n
,
n
as
a
.
”
an
o,
e
a
e
.
e
n
.
.
a ssa v
,
n
.
n
a opy over the head of the pon ti ff
c n
fu ll
in
,
p
sce n e prese n ting
Pope Le o X ,
,
on
horse
less truthfully portrayed than are the
no
,
,
these details are exceedin gly useful to those
an d
,
art more partic u larly to
,
s u ch
are u n provided with the
as
bj ects here represen ted
About the s a m e time a picture was executed by
.
this was placed
d
an
the church of
in
Sa n
R aphael fo r
D omen ico
an
,
d
wherein is the crucifix which spoke to St Thomas A qu i n as
.
depicted O ur L ady
Ra phael
c
is
H e is followed by n umerous courtiers the whole
extremely beautiful spectacle i n wh i ch all is fi n ely
an
our
.
.
ppropriate to its place
who practise
is
an d
on t i fi ca l s ,
figures before m e n tion ed
o
The latter
l
.
b a ck
a
RA P H A EL
OF
L I FE
34
ardi n al
Tobi a s
an
,
”
the an gel
d
R aph a el ,
For L eon ello
.
has attain ed the age
colourin g
,
,
m o re
than
i ety ye a rs he pain ted
n n
exquisitely graceful withal
,
an d
that I do
,
pro duce or exhibit a fi n er work
,
an
d
a
an
,
d in
thin k the art
n ot
There is a divi n ity
.
,
an d
the beauty of the whole work very
c
a ma nn er so
o u ld possibly
the coun ten an ce of
in
,
possible to con ceive an ything m o re beautiful
not
be
The master has depicted her
.
with folded han ds in ador a tion of the divi n e Child
,
an d
a
of
,
humi l ity in her attitude th an which it would
m odest
,
pictur e the
a
,
rem a rkable ; it is indeed executed with so much force
O ur L ady
this work
who is serving as the guide of the youthful
which is most a d m i rable
of
In
.
the vest m e n ts
in
,
,
in that ch a pel
Carpi L ord of M eldola who is still livin g
da
of
G i rolam o clothed
San
,
N a ples
who
,
is seated
is caressin g a little St Joh n ; the latter is also ador i n g the
.
on
her lap
,
Redeemer
ubj ct i th i p i ctu r i om t i m
id to h v b i t d d
ll u i t
t h e x pul i
f th F r ch fr m It ly
d t h fig u
c ll d p rtr i t f L u i X II
f A tt i l h b
Ki g of F ra c b t th
rt i d t pp r t o b w ll f u d d Se P
t
th M d
T h i i th p i ctu r k w
w i
d l P
d i
t h E cu r i l
( f th Fi h)
Th ch p l i wh i ch i t w
ri g i lly pl c d w
r t d t by p r
much r
ffl i ct d w i th d i
f th
y ; T b i w ith h i fi h i th r f r h i ghly pp r p r i t St J r m wh h l d b k i
hi h d i
l much i hi pl c
th i cc i
l t r f th b k f T b i t Th i
b i g t h tr
i
f t h w rk t k
wh r i t w
t o P ri
t r f rred fr m t h p l t c v
i t i t i r ly b y
R ph l h i m l f
d i co i d r d t b
f h i b t work
ch i c
Th e
e
o
s on o
n
n
2
e
o
s
a
e
e e
s
an
s one o
a
e of s
ae
e,
s
e
e
no
as,
s a so
o
se
s
,
an
a
s
en
s
s
a e
s
a e on
a
ns
,
s,
e e
e
a
es
s o
sa
re o
e
on n a
e
a
an s e
s
es
e n
e
o
s
.
ee n
a
.
s
e
a e
o
e
e
o
e
e en
o n
e so
as on , a s
e one o
as
-
esce
e
as on e
as
a
a
ea
e e o e
e e
o
s
e
a
e
na
s
an
o no
n as
s
n
,
on s
as o
o
e
a
o
e s e a s se
n
e
n
en
u
s
es
,
e
e
,
.
an s a o
e
a
o
e
a
e
a ssa v a n
an
s no
ane
e o
e,
o
e
o
s on
as an a
e
o
o
s
e
s
oo
a n as
,
a
.
se ases
e
o
o
.
n
e s ons a
o
.
n en
o
o
oo
s a
o
s en
n
s
.
e
S T C E C I LI A
.
IN
TH E
MUS E UM AT
B
,
.
O L O GN A
.
ye s t u rn e d tow ar d s h e av e n i s l i s te ni n g t o t h e c ele s t i al s on gs
H e r h a n d s ar e li g h tly h ol di n g a li tt l e o r ga n a n d m us i c al i n s tr u
of s i x an g el s
O n t h e r i g h t i s t h e a p o s tl e P u l l ean in g on hi s
m en ts a r e lyi n g h a l f b r ok e n a t h e r fe e t
t h e E van g e l i s t
O n t h e pp os i te s i d e i s S t M a r y
w o r d an d b e h i n d hi m S t J o h
Mad g al en h ol din g a v as e o f p e rfum e i n h er l e ft h an d an d b e hi n d h e r i s S t A u g u s ti n e
T h i s pi c tur e on e o f t h e m ost ma gn i fi c en t w h i ch t h e gen i us o f Ra p h a el h as p r od u c e d
i s wi t h r ega r d t o c ol our an in i mi tab le m a s ter pi e c e al t h o u g h i t h a s l o s t s o m e o f i t s
b ri lli an c y b y s u c cess i v e r e s to ra ti on s —P a ssa v a n t
C E C I LI A
h er
,
e
,
,
.
a
.
s
,
.
n
o
.
,
.
,
,
.
.
,
,
,
.
R A P H A EL
L I FE O F
the figures of St Joseph
an
.
picture was formerly
Carpi
1
,
so n
St Eli zabeth complete the gro up
d
.
the possession of the
in
35
.
m ost
This
.
revere n d C ard i n a l di
of the above n amed Sig n or L eo n ello a very zealous admirer
of
-
,
our arts ; it must
be in that of his heirs
n ow
2
.
Pucci,
W he n L ore n zo
Card i nal of San ti Q uattro was created H igh
Pe n ite n tiary he caused Raphael who was i n great favour with him to pai n t
,
,
,
San
a picture for
Giovann i
-
ia
-
,
M o n te at Bologn a
,
This is
.
placed
n ow
in
that chapel wherei n are deposited the relics of the Beata Ele n a dall O lio
3
’
an
,
serves to show what grace united with art could e ffect whe n actin g by
d
,
the most accomplished
an
d
most delicate han d of
4
the work is Santa Cecilia liste n i n g
choir as their voices reach her
'
the celestial harmo n y the cou n te n an ce of the sa i nt
a
bstraction fro m the thin gs of this earth and wears that ra pt
,
expression which is wont to be see n
ecstacy
5
the faces of those who are
on
M usical instrume n ts lie scattered around her
.
an
,
d
these do
seem to be merely pain ted but might be take n for the re a l obj ects
6
The same thing may be affirmed of the veil
.
an
d
in
n ot
re
,
se n ted
ge l ic
full evi de n ce
afl o r d s
,
of her
an
from heave n itself : wholly give n up to
c ar
,
The subj ect of
.
ecstacy to the so n gs of the
in
,
Raphael
p
re
vestme n ts formed
,
C rd i l R i d ol f Pi o d Ca rp i gr a t p r t ct r f l r d m
d t h po
r of t h
c l b ra te d M ed i ce V i rg i l H e d i ed i l 5 64 —B tt r i
3
u lly
b t eq
Pa sav a t c o i d r th i s p i ctu re to b e th t i t h Mu s o B orb i c o t N pl
i m port t a uth ori t i d cl re th M d a f th B orb o i co t o b a fi e c py by G i ul i o Rom o
t
f t h e ori g i l w h i ch th y fii m t h v b
t ke t o P ri w h c e a ft r h v i g
b t b t a r p li
d r d t h g ll ry t M l m i o i t w t r ferr d to S t P t r b u rg
El
D ug l i li d ll O l i o wh w
i p i re d t o b u i l d th e ch p el t o St C c i l i wh i ch i s th t h e re
llud d t o was a nob l e l ady of B ol g a d ki wom to th e C a rd i l f S t i Q u ttr wh u d r
t k t o e rect t h m El w afte r wa rd s d cl r d B t
w i
T h i p i ctu r i t h c l b r t d S t C e c i l i
t h g ll ry of th e A c d my t B ol og
g ll r i
ue t x p i t i f w h t
The v i i t r of It l i
e l oq
d chu r ch w i ll r m m b r m y
i h e re m
t i th p i ctur of S ta T h e resa S t F r c i a d oth r T t h Pr te t t C hu rch
w
th
xhi b i t i o of Sa i t i c tacy i ot yet b e come m tt r of freq
u e t ccu rr c
i th re
p rh p
y v e ry h i g h p rob ab i l i ty of i t d oi g so
5
T h i t ru me ts are i d to h v e b p i t/d by G i ova ni d Ud i e
i r e m r k e d by
V ar i h i msel f i n anoth e r pl ac e —Ed Fl or 1 8 32 8
Th e
na
a
o
an
e e
a
,
a
n
.
o e
e
’
s
ns
n
es
an
es
a
e
u
,
o ne
3
a
e
a
e
e
as
e
e
s
s
,
o
n
n
e e
ena
.
e
a
e
e e
an
a
e
n
a e
a
.
es ,
a
u
an
,
n
a
s,
a
en
e
e
an
a n
.
e
,
e
,
or a
a
n
.
e
.
o
a.
an
a
o,
a
o
s,
a
e
e
an
e
n
e
e
a
n
e
an
s
n
o
.
o
n
na .
os
e
e
o
on o
n
a
e n e , n or
n
,
as
s
a
s an
e
s
.
-
.
a
e
a
ee n
e
ea a .
n
.
ss es so
e
a
,
o
na
s n
a
a
e e s
an
,
sa
een
.
es
n
n
a
es an
”
on
e
a e
e
a , no
s
ns
o
r
ns
.
s an
e se
n
an
n e s
a
e n, an
e
n
e
a e
e
ns
as
es
n s
na ,
e a ne
o
.
n
e
ans
as
o
o
ea n
as
e
,
,
e sa
o
,
’
a
on n
a
a s n,
a
o
5
a
e
na
a
e na
s
e
a
ca o
oo
s
a
e s
e
a
o
.
o
a
no
R A P HA EL
L I FE O F
36
.
an d
of cloth of gold and silver with which San ta Cecilia is clothed
,
be n eath
In
the figure
of St Paul likewise the power an d thought of the master are equally
obvious : the saint is restin g his right arm on his n aked sword the head is
which is a garment of hair cloth
-
,
so most admirably pai n ted
al
.
,
.
,
supported by the left han d and the pride of his aspect has chan ged to a
,
dignifi ed gravity ; the vestmen ts of St Paul con sist of a simple cloth man tle
.
the colour of which is red with a gree n tun ic ben eath after the mann er
,
,
the apostles ; his feet are bare
of
St M ary M agdalen als o forms part of the
.
.
group and holds a vase made of a very
,
,
,
fin e
marble
in
,
her hand
The
.
attitude of this figur e is si n gularly graceful as is the tur n of her head ; she
,
seems to rejoice in her conversion
that
an
y
an
,
d
I do
thi nk it would be possible
n ot
work of the kind could be more pe rfectly executed
St A ugustin e
.
an
d
of St Joh n the Evan gelist which are both
.
are of equal excell ence
,
I t may i n deed
.
wi
The heads of
.
in
this pictur e
,
th truth be declared that the
paintings of other masters are properly to be called pain tin gs but those of
,
may well be designated the life itself for the flesh trembles the
Raphael
,
breathi n g is made ob vi ous to sight the pulses
,
,
in
his figures are beati n g
life is in its utmost ani mation through all his works
,
i n somuch
that
n
an
d
.
This picture secured the author man y commendation s
i n crease of fame
,
an
d
umerous verses both in L atin
,
a great
an
d
the
vulgar ton gue were composed to his honour ; of these I will but in sert the
,
followin g that I may
,
n ot
make a lon ger story than is n eedful :
Pi ng u n t
Oceci l i w
q
sol a a l i i , r e er a n t u e co lori
os
R ap ha el
bus
q
at
u e a n i m a m ea
or a
p l i cu i t
”
‘
.
A t a l ater period our artist painted a small picture which is
,
Bologn a in the possession of the Cou n t
,
V i cen z i o Ercolani
n ow
at
The subj ect of
.
.
‘-
this work is C hrist e n thron ed amid the clouds
,
a
pi i h
uth ri ty
n on
o
.
as,
h
vr
owe e
,
not
a
fter the
m a nn er i n
wh ich
d cl ares th i fig re t o rep re e t ot Chr i st but Ez eki e l h i m l f ; th i
fou d d v oc ates a mo g such of th e l ate r w ri te rs as a e co i de red t he b t
Q uat rémere de Q u i n cy
o
,
n
e
a
s
u
n
s n
n
se
,
r
ns
s
es
R A P HA EL
L I FE O F
38
seated with the in fan t Christ
in
.
her a rms ; she is hold i n g him out to the
V irgin a n d the beauty of his n ude figure with the exquisite lovelin ess of
the coun ten an ce which the master has give n to the div i ne Child is s u ch that
,
,
,
his smil e rej oices the heart of
Raphael h a s
imparted
a
a
ll
who behold him
the beauty which
ll
of a V irgin ; in the eyes there is modesty
no
se is
excell e n ce
an
of very graceful character
on e
In
.
,
,
can
and
an
,
,
do
n ot
,
the expression
in
there shi n es hon our the
,
the mouth betoke n s sweetn ess
the vest m e n ts also there is
attractive modesty which I
To O ur L ady also
.
be im a gi n ed
t h ebrow
on
,
an
d
i n describable simplicity with
thin k could possibly be surpassed ;
there can n ot i n deed be an ythin g better of its ki n d th an is this whole work :
there is
a
Sa n
beautiful figure of the little
Giovan n i u n draped
,
this picture
in
1
with that of an other s a in t a fe m ale which is likewise very beautifu l
,
backgroun d represe n ts a dwell i n g
,
The
.
,
which there is a win dow partially
in
shaded through which light is give n to the chamber wherein the figures
ar e
,
seated
.
In Rome , Raphael
.
likewise painted a picture of goo d size
Pope Le o ,
represen ted
Rossi
The figures
than merely feign ed
the C ardin al Giulio de M edici
in
,
’
this work seem rather to be
an d
a plane surface
on
,
ful l relief
in
is clothed are also most
qy depicted
fa i t h
,
an
d
an
,
the dam a sk shin es with a glossy
d
an
gold
not
There is also
.
d
a
t ra l
na u
represen ted with a silver bell fi n ely ch a sed of which it would
,
sible adequately to describe the beauty
T h i p i ctu r c l l d th M d
p k f
gr v i g fr m i t b y t h
gr v d by C r l i u C rt d th r
s
ea s o
en
a e
s
e,
an en
a
o ne
a
e
n
s
e
a
o
o
,
an
o
d ell
on n a
e
e s
.
’
p ih
S
an s
I mp
en
n ot
book
o
in
bj ect
be pos
A mon g other accessories there is
.
,
an n a t a ,
g
rav e r
,
is
i tt i
u l Eq
uiv l
n ow
Eman
i n the P
e e
s
e
,
Pal a c e
and
it
.
h as
,
seem to
,
,
,
which the Pe p e
in
parch m en t decorated with min iatures a most vivi d imitatio n of the
,
’
The velvet soft n ess of the
.
sil k are copied in such a man n er that they do
be pain ted but really appear to be s il k
livi ng
an d
,
lustre ; the furs whi ch for m the linings of his robes are soft
while the gold
which he
in
,
the Cardi n al de
an d
skin is ren dered with the utmost fidelity ; the vestmen ts
1
,
,
L ong h e na
l
a so
b ee n
POP
WI
T H THE C AR D I N A L
S
E
GI
THE
IN
TH E TENTH
L EO
UL I O D E M E D ICI
’
'‘
PI I TI
P A L AC E
,
AND
F
,
LO D OV IC O D E
LO R E N C E
’
no s s x
.
.
t i n an a r m c h a ir a t at a b l e c ov e r e d wi t h r e d c l o th u p on w h i ch
He i s
a e pl a c e d a ri c h ly c h a se d s i l v e r h a n d b e ll a n d an i ll um in te d b r e v i a r y
h oldi n g a mag i fyi n g gl ass w i t h w h i c h h e a pp ea r s t o h av e b e n e x am i n i n g t h e m i i at ur es
i n t h e b ook
U p on th e l e ft s ta d t h e C a r di n l d e M e di c i (a fte rw a r d s C l e m en t V II ) an d
n th
r i g h t i s t h e Ca r di n a l d e R oss i w h r e s t s h i h d s on t h e b a ck o f t h e a r m ch ai r
Th e Po p e w e r
ca p o f
e d v elv et
a n d b e n e a t h h i s r ed c a p e
g a rm e n t o f w h i t e
d a m a k wi t h l a r g e s l e e v e s tri mm e d w i t h fun — Pa ssa e a n t
Po p e i s
sea ed
-
,
r
-
-
n
n
e
s
s
a
’
o
,
a
s
a
.
n
e
,
.
o
a
-
r
’
,
s
-
an
a
,
.
L I FE O F
RA P H A EL
39
.
moreover a ball of bur n ished gold o n the seat of the Pope a n d i n this — su c h
is its clear n ess —the divisio n s of the opposite window the shoulders o f the
,
,
,
Pope ,
the walls of the room are faithfu l ly reflected ; all these th i n gs are
an d
,
executed wi th so much care that I fully believe
ever
do an ything better
ca n
Pope L
by
eo
I t is
.
I
For this work
.
Raphael
,
,
whom he depicted with that perfectio n
in
O ttavian o de M edici and are
’
Ra phael
The fa m e of
con ferred
Rome ,
co n ti n ued to i n crease largely
palace to be erected
a
de co rated with stucc o work by Braman te
Flan ders A lbert
D ii r e r ,
,
a
himself
of
an
d
other works i n to Fra n ce
,
adm i r a ble Ger m an pai n ter
m ost
Ra ph a el
,
on
hi s
works a he ad
ow n
,
exceedingly
fi n e li nen ,
both sides the lights
n ot
,
who le pai n ted
the
n
amely which was his
e,
a
e
na
Ed i t i on , 1 75 9
’
a
e
produced by the
os s
e e
a
o
s
i tt i
ti
on
i s ma
3
d
e
ese
e
o en
es sa n
o
a
an
of whites but tran spare n t
,
an
,
d
This work was much admi red by
.
e
a e
s
,
e
e
rs
e
n
a o
ae
by
Pal a c e
ne
one
en
-
een
ea
ears
e
,
an
an
e
n
e
,
as
s n e
o
an
Of
.
c py m d from th i w rk by A drea d l S rto m
l i f f A dr ea
lut ly c rta i i w k w T h r i c py of th t f G i ul i
c b l i v d t be by V r i hi m l f b t i t i w ttr i b ut d t
t he
fin e
a
o
no
a
a
n
o
n
s
a
e o
so
n
e
n
e
e
s
e
n
o
a
,
so
e
.
e
a s on e
,
e
e
s no
no
n
asa
o
sa
e e
.
se
,
o
o
a
s no
u
a no
a
e
o
.
’
e
our a
o
o
o
e
a n e
ee n
uth r i hi
O f th
p rt r i ts th i g b
G ll e ry wh i ch w
i th F l r t i
Al
dr All r i
d t roy d to m k w y fo
R ph l s h u
w
d Gi c m d R
i P l zz i d i R m Se l F
n
u se
on
.
N ow i n t h e P
9
me n
,
which permitted the picture to appear equally
wa ter colours
in
portrait executed
ow n
,
1517
d 1519 i c
T h i p i ctu r r m rk B tt r i m u t h v b p i t d b tw t h y
C rd i l d R i r c i v d t h pu rpl i t h fi t m t i d y r d d i d i t h l t —R m
s
t he
,
the
and
,
e n graver of most be a utiful copperpl a tes se n t a tribute of respect to
from
in
The re n ow n of this most n oble
.
,
d
did the rewards
as
,
artist havi n g bee n carried by the fame of these
an
,
the Borgo N uovo which was
in
‘
of
.
,
he caused
the he i rs
to
him ; wherefore desiri n g to leave a memorial
on
,
"
in Flore n c e
n ow
,
.
of the D uke Giulian o
d
These works belo n g
.
He
3
that grace of colourin g which is
an d
other than h i mself
no
an
or
,
was richly rewarded
in Flore n ce in the Guardar o ba of the D uke
n ow
also p a i n ted the portraits of the D uke L ore n zo
to be seen
master ever has d o n e
no
,
o
’
se
o ss
,
as
a a
es
a
e
o
a
.
e
a
e a so
r
t he
ca ,
C ol o
n na
d
e o
f S t Pe
N ot i z i e i n t or n o
.
a
tr
e
’
s
.
Sec
z
F
e rra r i o
R afi a cl l o S a n i o
.
,
R A P H A EL
L I FE O F
4O
Raphael ,
who sent a n umber of his
they were very highly estimated
ow n
'
dr a w i n g s
.
to A lbert
D ii r er ,
l
by whom
The head se n t by the German artist
.
.
,
A lbe rt Dii r e r to Raphael was subsequen tly taken to M an tua amon g the
other possessions inherited f rom the last named master by Giulio Roman o
,
,
,
2
,
R aphael
.
hav i ng been thus made acquain ted with the mode of proceedin g
adopted in his e n gravi ngs by A lbert
D fi r er ,
works treated after that mann er ;
he
Bologn a who was well practised
,
in
was desirous of see i ng
hi s
ow n
therefore caused Mar co An tonio of
that bran ch of art to prepare
,
n
umerous
studies from them ; and in this A n ton io succeeded so well that
R aphael
,
commission ed him to e n grave many of his earl iest work s namely the
,
Slaughter of the I nn ocents a L ast Supper the N eptune
,
,
in
a
,
,
nd the Santa
3
M arco A ntonio subsequently
executed a n umber of e n gravings whi ch w ere afterw ard give n by Raphael
Cecilia when she is being boiled
,
oil
.
,
to
Baviera his disciple who was the guardian of a certain lady to whom
II
,
,
,
was attached til l the day of his death
Raph ael
an d
,
of whom he pain ted a
most beautiful portrait which might be supposed alive
,
an d
Flore n ce in the possession of the good
,
This is
.
n ow
at
worthy B otti a Florentine
,
merchan t of that city who is the frie n d and fav ourer of all distin gui shed
4
,
men but more especially of pai nters ; by him the work is treasur ed as if it
,
were a
r el i c ,
for the love whi ch he bears to the art but more especially to
,
c t i i g t wo u dr pe d figu re of m i w i t h coll cti f t h A ch d uk
t Vi
Th dr w i g i
C h rl
ddre ed t o Al be rt D ii by th e h d f R ph el h i m l f wh
h
l i cr i b d t h e d te 1 5 1 5 —Ed F lo r 1 832 —
C omm t t r L u d wi g Sch or
8
Th G rm
add
1 51 5
th t th f ll w i g i c ri pt i wri tte by Al be rt D ii i l to b f u d th reo
R f l of Urb i
wh i
o h i g hly
te m d b y th P p h m d th i k d figu r
t it
d ha
t o N u r mbe rg t A l b r t D ii
p c im of w rk from h is h d ”
T h i p rt r i t i w b e l i v d t o b l t
—B tt ri
T h i i t St C c i l i b i l ed i oil b t th m arty rd m of S ta F li c i tas a d h
F th l g d f th i
i nt t h r d r i r f r d t o M J me S cr d d L g d ry A t l
ii p 26 6 t q S
l o R i ch Ch i e Fi r ti ne ol i x
S t il l i F l r c i t h t r i b u e of th Ufli j a ccord i g t o M
ll i b t cc rd i g t o S ch orn i t
h as b e
r mov d to t h Pi tti P l ce
1
a
One of
es, a
th
en n a
as a so n s
s,
e
s
.
s
e
,
.
e
o
e
o
a
s no
se
o
.
n
en
e
a
n
ns
es
s sa
e
,
ee a s
e
n
e
ea e
a,
a a
,
s
es
n
.
e
os
e
n
o e,
as
an
a
e
a
o
e
s na
e
on o
en a o
s a so
an
o
e
an
e
r er ,
en
n
e
e
.
e
e
o
s no
rcr
.
e
e e
a
en ,
n
re r, as a s
o en e ,
e
.
s s
e
s
ss
on ,
s no
.
a
s a
.
n
o
en
e
o
n o,
e
or
e
.
n
a
o
a ae
3
on a n n
e
a
9
ese ,
o n
se
a
e
o
,
n,
,
n.
e
,
s s en
e, a n
e
r
.
.
u
e
e e re
rs .
o en
e
an
o
,
z
,
v
.
a
son ,
a
e r so n s .
n
e
e
an
e en
.
n
as se
,
u
a
o
n
a
o a
r , vo
.
.
expressio n
a
R A P HA EL
L I FE O F
42
rmed
the deepest sympathy
of
m en
horseback
on
an d on
There are besides vast
.
umbers of
,
in
,
ttitud es of great an d varied beauty
This pi cture was en tir ely fi n ished but had
their han ds
,
an d
all
in
in
its
.
place whe n it was
in
,
en
d
great d a n ger
The matter was
.
he a rd rel ated
,
on
be take n
to
,
was picked up
an
d
thin g it was placed
,
without spot
a
frightful tempest
se a
i nto
a
,
in
w as
,
the Gulf of Gen o a
,
,
no t
respect to the beauty of so
bruited abroad
,
,
,
H ere
.
due keepin g havi n g mai n tain ed itself u n hurt
belon ged took meas u res
succeeded though
m en
born e to lan d whe n bei n g see n to be s o beautiful a
h ad h ad
fa me of this even t
,
lon e excepted which
blemish of an y ki n d ; for eve n the fury of the win ds
or
waves of the sea
Pope ,
but
,
its p a ck i ngs was carried by the
in
h a ppy
rock where it was beate n to pieces
,
secured
it
on a
Pa ler m o ,
to
merch a n dize bein g lost together this picture
d
an un
,
rose which drove the vessel
an
the poi n t of com in g to
an d o n
this wise : The p a in tin g accordin g to what I h a ve
shipped
w as
yet bee n fixed
n ot
,
a
n
foot who are seen po uri n g fort h from the
G a te of Jeru s a lem beari n g the e n sign s of j ustice
a
.
to
,
an d
n
an
oble a work
an d
the
d
The
.
the M o n ks to whom the pictu re
,
obta i n its restoratio n :
without great di ffi cul ty
an d
this they eve n tually
in
on
ly by the aid of the
whe n they largely rewarded those who had e ffected its recovery fro m
the waves
1
Being the n emb a rked a n ew the picture was ultimately la n ded
.
,
the city of Palerm o where
in
Sic i ly ; the M on ks the n depo sited the work
it
has more reputation th a n the M o u nt of V ulcan itself
in
,
2
.
W hil e
he could
great
R aphael
,
decli n e d o in g partly because com m ission ed to execute them by
n ot
an d
was thus e n ga ged with the works ab o ve described which
,
importan t pers o n a ges but partly also because a due regard for
,
,
,
uch c l b r t d p i ctu r c ll d L Sp i m d i S i i l i w tak t P ri wh r i t w
tr f rr d fr m th p el to c v s ; i t i w i th R y l G ll ry f M dri d Th figu r f S t
V r i c i t i t h p i ctu r V r i d c i b d i t fr m m m ry d i i rror th i p i t
O u r uth r i h r foll wi g t h l d p t w h m k M u t Et t h b d f Vulc
d th
it f hi f rg
1
an s e
e on
Th i
s
m
e
a
e e
o
e
s no
a e
an
e
n
e,
a
an a
e
s no
as a
.
o
e
es r
e
o
as
n
c
o
e
o
e
a
a
o
,
a,
as
e
o
a
an
s
n e
en
o
a
s,
e e
e
.
on
s
e o
o n
as
.
.
'
2
s
e o
a
s
o
o
e
.
s
e e
o
n
e o
oe s ,
o
a
e
o
n
na
e a o
e o
an a n
e
C H RI S T B E A RIN G
IN
THE
C R O SS
HI S
MUS E UM M AD R I D
,
.
.
r th un d e r t h e w ei g h t of t h e Cr oss t urn s t o t h e h oly
wom en w h o tea r ful ly a c c om pan y h i m Hi s m oth e r ove r w h el me d w i t h gr i e f
s u pp o r te d b
y St J ohn an d M a r y M a gd al en e s tr e t c h e s h e r a rm s towa r d s h er D i v i n e S on
I n fr on t on e o f t h e w om en kn ee l in g li fts t h e Vi r g in s v eil an d b ehi n d a fo ur t h w o m a n
wr in g s h e r h an ds i n h e r e c s ta s y o f s o rr ow
Si m on t h e C y r eni a n h a s s ei z e d t h e c r oss t o
c ar r y i t h i m sel f O n e of t h e s ol di e r s t h r u sts a l an ce a t C h ri s t i n o r d e r t o c om p e l him t o
A h o r s e m an b ea ri n g a
r i s e w hi l e an o t h e r en d e a v o u r s t o li ft t h e c r o s s wi t h a c o r d
F r om th e gates of t h e ci ty i s s u e for th t h e R om an j u d ge s
s t an d a r d h ea d s t h e p r o c essi on
I n th e b a c kg r oun d t h e t w o t h i ev e s ar e b e in g con
on h o r se b a c k a tten d e d b y s ol di e r s
d u c te d t o M o un t Cal v a r y
T h i s p i c t u r e i s a l s o c al l e d L0 Sp a si mo di S i ci l i a fr om th e n am e o f t h e c h ur ch S t
M a ri a d el l o Spasi m o a t Pal e r m o i n w h i c h i t forme r ly h un g A s in g ul ar in c id e n t i s
Th e v esse l i n w h i ch i t w a s s h i pp e d
a tta ch e d t o t h e hi s t o r y o f t h i s c e l e b r a t e d p ai n ti n g
for P a l e r m o wa s w r e c k e d an d t h e c a s e c on ta i ni n g t h e p i c t ur e fl oa te d u p on t h e s e a i n t o
t h e h a r b our of G en oa w h e r e t h e i n h a b i tan ts t ook p ossessi on o f i t u n ti l t h e P o p e i n te r
fe r e d an d o r d e r e d i t t o b e s en t t o i t s p r op e r d e s ti n a ti on —P a ssa v a n t
H RI ST, si n ki n g t o t h e
ea
,
.
,
,
.
.
,
’
,
,
,
,
,
,
,
.
.
,
.
,
.
,
,
,
.
.
'
'
,
.
.
,
,
.
,
,
,
.
.
L I FE O F
i n terest woul d
h is
say he
,
not
di d
comme n ced
in
n ot
that accou n t
on
n
the Papal H alls
"
,
an
te n ded by him self and
,
the
ow n
,
d
,
Ch a mbers ;
n
an
d
,
by them the work
han d every part bei n g mi n utely
on
in
a work of such magnitude
the sides wherein there are
these pictures the master has depicted the
V ecchio of
Rome ,
which coul d
n ot
by the power of his benediction
heads and
in
o n on e
p
eri n
N 0 lon g time
.
Torr e B org i a ,
.
In
no
o
ver the wi n d o w s
wi n dows
Co nfl ag ra t i on
In
.
of
Palace ,
an
d
one
t he
be exti n guished u n til Pope
presen ted himself at the L oggia of the
perilo u s i n cide n ts ;
su
,
every wall of w h ich he had placed a pai n t i ng— two
,
co n tin u ed
w as
,
amely and two
,
the co n tra ry he kept
on
elapsed therefore before he gave to V iew the apart m e n t of the
on
ccupied I
more i m portan t portio n s of the whole executed
by him so far as was possible
,
o
eglect to con t i nue the works which he had
people co n stan tly employed therei n
from drawi n gs m a de by his
43
.
to refuse them —wh i le thus
h im
permit
R A P H A EL
of
B orgo
IV
Leo
.
extinguished it e n tirely
this work is the represe n tatio n of ma ny
side are wome n beari n g v a ses of water
t he
their han ds wherewith to exti n guish the flames ;
their
on
hair
an d
clothin g of these figures are blow n about by the fury of a tempestuous
wi n d ; others who are
,
a re
a
bli n ded by the smoke
ttemptin g to throw water on the bur n in g masses
,
an
d
an other pa rt of the picture is
of
A nchises
a
an d
At
.
group resembling th a t described by V irgil
,
bor n e out of da n ger by zEn ea s
exh a usted by his i nfirmity
in
appear to be in a state of bewilderme n t
An
.
the heat of the fire
whose form the determ i natio n and power
to
,
old
an
d
m an
,
,
bei n g sick is
,
is carried by a youth
save are man ifest as is the
,
e ffort made by every member to support the dead weight of the old m an
helplessly han gi n g in utter aban donmen t upo n his back H e is followed by
.
old woman barefoot an d with loosened garme n ts who is rushi n g i n haste
from the fir e —a n ak ed child goes before them From the top of a ruined
an
,
.
bu i ldin g
al
so is seen a woman naked
an
d
with dishevelled hair who has
i nfa n t in her han ds which she is about to throw down to
,
on e
of her family ;
just escaped from the flames the last me n tion ed pers o n stan ds
-
,
an
in
the road
R A P H A EL
L I FE O F
44
.
below raised on the poin ts of his feet an d stretchin g forth his arms to receiv e
the child—an infan t i n swathing ban ds which the woman holds out to him
-
,
an
h er
here the an xious eagern ess of the mother to save
d
child is
no
less
truthfully expressed th a n is the su fferi n g which she is herself e n durin g from
the devouring flam es glowi ng aroun d
,
the figure of the
an d
In
.
who is receivin g the chi ld also there is as clearly to be
m an
perceived the an xiety which he su ffers
fear
threate n ing to destroy her
he e n tertains for his
life
ow n
.
his desi re to rescue it with th e
in
,
Equally
imagin ation displayed by this most i n genious
an
remarkable is the power
of
most admi rable artist
a
d
in
mother who drivi n g her children before her with b ar e feet loosen ed
vestme n ts girdle u n boun d
,
her han ds
in
ruin s
an
an
,
d
an
,
d
hair dishevelled bears a part of her clothi n g
,
s m ites her childre n to haste n their flight from the fal li n g
from the scorchin g fury of the flames
d
Pope ,
women who k n eelin g before the
,
,
H olin ess wi ll cause the fire
to
be stayed
The secon d picture also represe n ts
IV
,
,
,
,
There are besides other
.
appear to be e n treating that his
l
.
an
i ncide n t
from the life of Pope
Le o
here the master has depicted the Port of O sti a occupied by the fleet of
:
the Turk s who had come to make his H oliness prison er
,
without are see n the Christian s en gaged
A rmada
an
,
d
n
the sea
On
.
combat with the Turki sh
in
u m erous prison ers are already observed to be en tering the
harbour ; the latter are see n to issue from a boat when ce they are dragged
by soldiers the attitudes and countena n ces of whom are exceedingly spir ited
.
,
an
d
beaut i ful
.
d
The prison ers are clothed
to seamen
,
reigning
Pon tiff, Le o X
an
are led before St
Leo ,
.
Hi s
.
a variety of vestme n ts proper
in
whose figure is a port rait of the the n
H ol i n ess who is
,
en thron ed between the Car di nal of S anta M aria
da Bibbien a
own
.
amely
,
an
For
an
.
,
1 93
.
a
s
os e s
e a
s
e
n
es e
n
full
in Portico ,
-
p on t i fi cal s,
is
Di vi z i o
B ernardo
C ardi n al Giulio de M edici who was afterwards
d
’
,
v ri ou d t il r p ct i g th i s w rk w h i ch i th t wh r i
h d th
ucc e d i g b ei g f r t he mo t p rt b y h i ch l r
1
ii p
n
-
in
n
o
o
s
s
,
a
a
s s
e e n
o a s , see
ph ael d i d th e m t wi th
t
l i p 261
P
Ra
assa va n
os
,
vo
.
.
.
,
h is
v ol .
R A P H A EL
L I FE O F
46
k n eelin g who bears the crown
b oy
his han ds ; this is the portrait of
in
,
I ppolito de M edici who was afterwards
’
a
,
celle r— a highly esteemed prela te
b ut
of a l l others — o n e too whose
most grateful respect
him si n ce my
,
an
,
d do
comme n ceme n t
ow n
To
describe
al
must yet
n ot
-
of these arts o n ly
n ot
,
I am myself bou n d to hold
art such
in
it may have bee n
as
,
the
in
its
h ad
,
.
the mi n ute particulars of Raphael s works wherei n every
’
l
,
bj ect seems to be eloque n tly speakin g
I
,
became V ice Chan
i n deed ackn owledge myself deeply o bliged to
origin with that n oble prelate
o
m emory
,
an d
Cardinal
the firm frie n d
and
,
.
in
its sil e n ce would
be possible ;
n ot
,
omit to men tion that ben eath each of the pictures above
described is represen ted
socle or baseme n t where i n are depicted the
a
,
figures of various be n efactors
an
d
defe n ders of the church separated fr o m
,
‘
e ach other by termin al figures of various character but all execute d i n s u c h
a m ann er that every part gives evide n ce of the utmost thought an d care ; all
,
ar e
full of spir it with
p o ssibly be better
propriety
a
,
an
d
harmo n y of colour that
c
ould
n ot
The ceili n g of this apartme n t had bee n pai n ted by
.
,
Pietro Perugi n o , Raphael
m em o ry
’
s master
,
an
d
this the latter fr o m respect to his
,
from the affection that he bore him would
an d
,
th a t by his in struction s it was that
R aph a el
the path which had led him to so high
So comprehen sive
an
d
in
art
in
,
d
an
eve n
Greece to the
in
an d
which appertain ed to his art ;
Pursuin g
his works
i
te rmi i
x cut d cc rd i g t m
t h Rom
e di t i
ffi m th
t ir ely r p i ti g wh i ch h
d i v ry m t rly m
Th
e e
e
e
,
a
n
o
an
en
on e
e se
e
n
n
o so
on , a
e a n
n a
n
a re
,
as e
r
,
in
the
-
a
e
e
d
a
thin gs
ll
all parts of I taly at
,
that he might wa n t n othi n g of that
for this he spared n either labour
V atican , R aphael
decorated
on e
cost
n or
of the h a lls
.
in
w ll
ch i ro cu r f y ll w c l u r th y w r p rtly dr w
uth or i t i by G i ul i o Ro m
t t p r B tt ri i
S
P
m to h v b
h v rq
u ir d l m t
m uch i j u r d by t i m
t
w
fu rt h r i f r m
d i h r i f ll w d by l l l te r c mm ta t
r by C rl o M r tt i
a
e
e
en
,
.
Raph a el i n
exte n ded were the V iews of
relatin g to his works that he kept design ers e m ployed
Pu z z uol o ,
,
him self was first con ducted to
position
a
destroy seei n g
n ot
a nn e
o
s
o
a
e
o
o o
es ,
a
e
e
n o
a
a no
een
so
s u s, a n
a a
.
n
s
ee
.
e e
e
,
ass a v a n
e
e
e e n
o o
e
as
a
a
a
a
,
o
a
n
su
a
a e
e
o
as
o
.
e
en
as
e
a
,
a
ors
n
os
,
as
T END A
I N T HE PI N AC O THEC A MUN ICH
,
td
.
.
h h er fa c e in p r ofil e an d emb ra c es wi t h h er ri g h t
Je s us wh o i s sea te d on h e r la p H e i s
hi s h ea d an d s eem s t o
t o th e w ord s of li tt l e S t J o hn w h o i s s t a n di n g i n an a tt i t u d e of a d ora ti on
h e a d i s c ove r e d wi t h a ri ch ly o rn amen te d c l ot h Th e c ur tai n (t nd a ) w h i ch
b a c kg r oun d g i v e s t h e n a m e t o t h e p i c t ur e —
Pas awamt
s ea e
wi t
,
.
,
"
.
,
.
-
e
.
for m s
th é
‘
.
s
.
R A P H A EL
L I FE O F
t e r r et t a ,
I
depictin g several
represe n ted stan di n g
ha s
of
the A postles and
n
iches or taber n acles
in
47
.
”
umerous S a i n ts whom he
n
,
The re also he caused his
3
.
disciple Giovann i da U dine who had not his equ a l
an
i m als to paint all those the n
the possessio n
in
,
the deli n eation
in
,
Po pe Le o X
of
of
the
;
cha meleon for example the civet cat the apes the parrots the lio n s the
eleph a n ts
4
an
,
an d
m e n ts ;
d
other ani mals from distan t la n ds
d esig n
ga ve the
loggie com m e n ced
g
,
,
H e a lso a dor n ed ma n y
/d
.
for certai n of the st a ircases as well as for the
,
the a rchitect B raman te but which remained in complete
by
,
with m a n y chan ges in the architecture by
Ra phael
,
m o del i n
wood the arran geme n t
,
decoration
an d
more beautiful th a n that proposed by Braman te
Pope Le o ,
Raphael
,
,
magn ifice n ce
hi s
to m a k e designs for the or n ame n ts
tt th rw i c ll d T r d i C
by B l di
cl y u d i m ki g rth w r f t h rv i c f t h t b l
a rth
p wd r d ch r c l w mpl y d f m ki g gr u d f p i t i g h i
It i f u d i R m
r St P t r
d t M te Sp t l i th i rt
—
pp r t o r mb l wh t i E gl d i c all ed C h i
From
t
th A r t
f P i t i g d mi r b ly t r l te d wi th v lu b l
e
or
o
a
a
a
o n
'
o
oa
s
a
n
e
a
a n
n
o e
a e
or
a
e e
.
n
’
an
n
a
,
en
ea
s
se
e
or
o n
n
an
c
n
a n
er o
e , an
a
nr
,
na
s
ans a
a
or
on
a
e
e o
s,
nucei ,
a
a v a , or , as
e ra
e
e , ne a
o
o
a
as e
,
e se
e
se
n
n
ea s
on
e
se
e e
s
o
a,
a
,
e
a
d
an
d
stucc o
in
which he had resolved to have placed betwee n the pai n ti n gs executed
Ter r e
an
.
5
1
,
himself who prepared
which were richer
of
desiri n g to show the greatn ess of
generosity caused
desig n
n ew
,
an d
of
other embelli s h
r ot tesc z e a n
the death of that m a ster whe n they were c o n ti n ued a fter a
at
a
,
other parts of the p alace with
an d
the flo ors
,
,
,
-
Ter ra
by
,
be
,
an
i g
Th e
.
m
n
e en
o
e
n s
o en e ,
nc en
e
e
rs .
e
or
o
es
a no e
n o es ,
B occa l t
i x d w i th
ri d v f t h ti t
m il
fr m F l r c
d
t t t h A i t Tr ti
M
M rr i fi l d Se t h
h i ch
d w
i - scu
een
the
in
'
(l a
,
e
.
.
an
ea
s es
e
e
lp a l o Il l a n u s m-Qn
.
.
L S ho
Ch r i t d th e twe lv p o tl e r th e r —
T h e work s we re arly d stroy e d by Pop Pi u IV wh ch g d t he H ll i t
eri
f
re tor d to t h e p rtm t by G re gory X III th t
sma ll e r ch mb r
b t wh e i t o ri gi l fo rm w
Th figu r of C h r i t
d hi
pont i fl c au d al l th n r m i i g to b re t r d by T a dd eo Zucch ro
A po tl e e b e t k ow to th rou gh t h e e grav i gs of M rc A t i o
l e ph t fr m t h e Ki g of Portu g l d h d i t
L
X h d r c e i v e d t h p re e t of a
p rtr i t t k e i n c om pl i m t t o the Rom peopl e t wh om t h a i m l h d fu r i h d much mu
2
an
s
3
e a
ne
es
a
e s,
u
a
s
s
.
na
s
as
.
a
e
s
'
se
s
e
s ar
eo
o
a
s
an
en
—
.
n
n
a
n
a
or
e
se
-
a
.
ee
e
s
ae
e
”
e
s
es
assa v a n
-
-
,
o
a
an
s
a
s
.
a
a
a
n s
,
an
e
a
se
.
o
s
e s
.
es
,
F t y i ght ubj ct fr m th O l d T t m t m ly d f u r fr m t h e N w k w
u r o u d d th m w i th myth l gi c l r p r t t i
giv i g th d ig
B ib l of R ph l
H
h im l f S P
t v ol
i d ii
5
s
en
.
n on
n o
n
e
o
e
a
o
an
e
,
o
a
n
n
e
F l or 1 832 8
e
s o e
us
n
n,
.
e
e
a
.
a
—Ed
me nt
n
s
a n n
e
an
o
s
e
e
n
rn
c
.
n
r
s
.
es a
e
.
e
an
e
.
en
na
o o
e
,
a
an
e
o
ese n a
o
ons ,
e
n
,
no
e
Th e
n as
es
f
ns o
al l
loggie as well as for those
h in
r ottes c e
other parts ;
in
,
g
R A P H A EL
L I FE O F
48
an d
.
as superin tendent of all these
,
,
commission ed to prepare the figures ; but the latter did
an
great exte n t
y
Bologn a
,
Gimign an o
,
an
del V aga Pellegri no da M ode n a
,
d Polidoro
V i n ce n z i o
,
l
,
Il
San
of
da Caravaggio wi th man y other artists to execute
,
,
Raphael
work at them t o
n ot
The Pon t i fi also commission ed Giovan ni Fran cesco
.
historica l pictures separate figures
which
being
'
Perino
2
Romano
stucco he app oi nted Giovanni da U d i n e Giulio
,
an d
,
man y other portion s of the works all
,
caused to be completed with so much care that he eve n
,
in
suffered the pavement to be procured
Flore n ce from L uca della
3
Robbia ,
i n asmuch that whether for the pain tings the stucco work the arc hi tecture
,
,
,
or other beautiful i n ven tion s a more admirable performance coul d
executed
,
c a use of
na
y
,
could scarcely be imagined ; its perfection was indeed the
Raphael
’
s receivin g the ch arge of all the works in pai n tin g and
architecture that were to be executed in the palace
I t is said that
Raphael
was so courteous
.
an
d
obliging that for the
,
conve n ience of certai n amon g his friends he commanded the masons
n ot
,
build the walls
in
a firm u n interrupted r an ge but to leave cert ain spaces
,
apertures amo n g the old chambers
on
might store casks pipes firewood
&c
,
,
,
en d
the lower floors to the
,
n
,
in,
in
executed
an
For all the doors wainscots
.
woodwork
,
d
,
Raphael
fi n ished
2
3
in
o an n
a
an
o o
o
eo
o
s o
a
a
en
e
a
nn
,
,
a
a
e
the V igna of the Pope
5
e
,
a,
a
o
d
that they
eedful to fill
other sign s of
,
an d
a very graceful man n er by Gia n B arile
for
an
other portion s orn amented
G i v i F r ce c Pe i c ll d 11 F ttore
B r t l mm
R m g h i c ll d fr m hi b i r thpl c Il B g
N t fr m L uc d l l R ob b i
wh
was th e
d ad b t fr m
1 8 32 - 8
an
these were
4
.
d
for several
.
s
a e,
o
n
e
,
a
u
o
n a cav ell o
hi s
ne
.
ph ew A dre
n
a
—Ed
.
F lo
r
.
.
d t i l r p ect i g th is c eleb r ted ca rv e r i wood see D el la V l l e Lette S es i
V ri h e re m ea s th e V ill a o M o te M r i o comm e c ed b y R ph ael for th e Ca rd i al G i ul i
F or
5
an d
,
caused fine carvi n gs to be prepared
The architectural design s
1
an d
seeing that the whole work began to show cracks
deterioration
to
therein ; but these hollows an d spaces
.
we aken ed the base of the walls so that it has sin ce become
them
be
n ot
,
as a
e a
s
es
n
n
a
n
n
n
a
,
a
,
n
a
re
,
,
an
.
n
o
RA P H A EL
L I FE O F
50
ki n g
the
.
with those of other ladies ; that of
his
an
d
an
admirers
d
m ore
We
.
fin d
p a rtic u larly to
m ore
3
.
service
of
B ut he also per mitted himself t o
.
of
be devoted somewha t too e a rn estly to the pleas u res
respect was perh a ps
,
,
ever ready to perfo r m acts
w as
2
H e was mu ch disposed to
delighted in the s o ciety of w o m an for whom he
,
the ge n tler affectio n s
B eatrice of Ferrar a
i n am orata is
ow n
specified but he also executed man y o thers
be
of
This master a lso pain ted the portrait
1
.
than d u ly con sidered
an
d
life
an d
,
i n t his
i n dul ged by his frie n ds
it related that his in ti m a te frien d A go st i no Chigi
,
,
co m mission ed him to pai n t the first floor o f his p a l a ce but Raphael was
that time so much o ccupied with the love which he bore to the lady o f
l
"
h ad
at
,
his choice th a t
could
he
,
give s u fficien t a tte n tion to the work
n ot
A gosti n o
.
,
therefore fal l in g at le n gth in to despair of seein g it fi n ished made so man y
,
,
efforts by
at
m ean s
of frie n ds
le n gth prevailed
an
by his
care th a t after
own
,
the lady to t a ke up her abode
on
accordin gly in stalled
w as
d
apartme n ts
in
n
in
m u ch
di ffic u lty he
his h o u se where she
,
ear those which
Raphael
was
pain t i ng ; in this mann er the work was ultimately brought to a con clusion
R aphael
For these pictures
the figures also with his
prepared all the carto on s p ai n ti n g
,
han d
ow n
6
fres co
in
On
.
5
.
m an y
of
the ceil ing he represe n ted
uv r E gr v d by Ed l i k d th r
P
v t i f p i i th t th w ll k w p i ctu r i t h T ri b
f t h Ufli j h i th rt c ll d
i t h p r t r i t f B t r i c e f F rr r
wh
w
th
F om i
t
h fu rth r i f r m
r y l p r g b t m y r th r b c j ctu r d t h v be
i mp r v i tr i c
f A g
Am g th p rt r i t w th t f t h c l b r t d b uty J
w l
i th
L uv r
d
gr v d by M g h
R p ct i g th
d th e r f m l po rt r i t by R ph l
P
t ts p
m ly
w c ll d t h
T h t th L g
Fr i
d wh i ch h
f m y y r b
t h p r p rty f t h e Ki g f N pl
L gh
S t ri
wil l
ot
d mi t th t ruth f th i
c d t wh i ch i d i d by P v t
ti
F
l
d t il r p cti g t h p i t i g
m d wr i te r w i th P g il o i El g i S t i
th l t
S e l
F
N t i zi A
Acc rd i g t th b t uth ri ti b t l i ttl f th w rk w x cut d by R ph l h i m l f S
P
t
S
l R m h r L gh
i
d P gil
N ow i n t h e L o
'
3
a r na ,
e son a
o a
3
o
e
u
a
a
o e
5
a so
on
.
a
en a ,
e
e
e
a
o
ea
e
e
on e
s
as
a
en
-
no
es
.
e
e
o
e
e
e s
e
a
e
o
un e o
as
en an
a e
e se
n
.
n
a a,
e e
e
o
n
o
o
an
nc
ea
an
no
as
sa
o
,
,
e
z
e
e
oa n n a o
o
e
e
,
e
o
n o
a
e
s us ,
a
.
a e
a so
on , no
ra
a
s
n
ae
a
.
e
se e
.
ara n a
un
o
o
es
o
n
a
a
or
e
e a s
o
o
n
ea ,
6
a ssa v a n
ra
o
or
.
u
on
n on
o
a e
n
.
a e
en
a
,
4
e
s
es e
on
a s sa v a n
a so
o
e,
e , an
e
s o
assa an
e
e
e,
o
e e a so
a
a
re
,
e
e
u
es
,
no
n
e
a
e
e
a n e s na , a n
as
or
ea s
an
ee n
.
.
n
re
e
a n
a
n
e
s se e
s a ne
o
e
as
na
e
o e,
un
,
a ss a a n
en e
s
e n
,
o
or co
o
.
.
es
o
a
,
o
es
on
ena , a n
u
e o
un
ese
eon
o
.
s
as e
e
e
a
ae
se
.
ee
T HE
A R C H AN G E L
ST M I C HAEL
.
I N THE L OUV R E P AR I S
,
T M I C HA EL
.
.
d es c en de d fr om h eav en i n ra p id fl i gh t h as a li g h te d u pon
Satan wh o c rus h e d t o t h e e ar th da r es n o l on ge r opp os e h i s di a b ol i c al fur y t o t h e
Di v i n e O mn i pot e n c e Th e A r c h an g el wi t h o u tsp r ea d wi n gs h ol d s wi t h b ot h hi s h an ds
s p ea r wh i c h h e i s ra i s i n g t o s t ri k e h i s a dv e r s a r y : h e h as on a tuni c a n d a c u i r a ss c ove r e d
wi t h g ol d en s c a l e s ; hi s swo r d h an g s fr om a b e l t h i s l e g s a r e b a r e an d h i s fee t sh e d
wi t h san da l s
Re d an d b l u e fir e esca p e fr om t h e c r ev i c e s of t h e g r o un d
Ro c ky s c ene r y
wi t h th e s ea i n t h e d i stan c e fo r m t h e b a c kg r o un d In t h e fi gu r e of St Mi c h a el
Ra p h a el s e em s t o h av e wi s h e d t o ex p r ess th e i d ea of s t ren gth a n d yo u t h On t h e
e d g e o f t h e b l u e ga r m en t of t h e A r ch an g e l i s wr i tten
RA P H AEL v anm as PINGEBAI
.
,
,
wh o h a s
,
,
,
.
,
a
,
,
,
,
.
.
,
.
.
,
.
'‘
,
Ra p h l p i te d t h i s p i c tu r e
F r c e — P sa t
ae
an
as
a n
van
.
for Lo r en z o d e
’
M e di c i
.
.
,
wh o
ga v e
i t to
.
Fr a c i s I
n
.
of
L I FE O F
the coun c i l
o
the outlin es
f
d
in
the Gods in heave n and
,
an
d l i n eame n ts
an
d
Jupiter
to
,
these deities man y
f
of
vestme n ts the whole admirably draw n
,
an d
a mann er equally beautiful
In
.
further depicted the M arriage
mini steri n g
o
,
exhibitin g the most pe rfect grace
Raphael
the forms
51
.
may be perceived to be from the an tique as are
vario us portio n s of the draperies
an
R A P H A EL
Psyche ,
of
with the atte n dan ts
the Graces scattering flowers
the ceili n g also he executed
o
,
the an gles
In
.
ther stories represe n ti n g in
of them a
on e
,
of
figure of M ercu ry with his flute ; the god in his graceful moveme n ts appears
really
to
be desce n di n g from heave n :
depicted with
an a
spect
of
the most sublime dign ity
whom with celestial gravity he is
ca
ress i ng
are other mythological represe n tatio n s
Psyche
V e n us wherein
,
a secon d is the figure of Jupiter
in
,
which are above the arches
an d
.
In
a car which is
in
d raw n
in
on e
for exam ple others be a r the helmet sword
,
,
,
the air
an
,
carries the caduceus of M ercury
,
an
bear the various
an d
,
has the thu n derbolts of Jove
hammers of V ulcan some are lade n with the cl u b
d
of
shield
an
d
M ars or the
,
lion sk i n of H ercules
-
,
of
V ertu m n us : all are a ccompanied
their vario us o ffices
,
an
d
the whole work
whether as pai n ti n g or poetry is of a truth emine n tly beaut i ful
,
a
Raphael
,
,
,
an
d
a
ll
1
,
A ll these
.
further caused Giova n n i da U di n e to s u rrou n d with
bordering of flowers fruits and foliage
festoon s
,
other the pipe of Pan while others
again have the agricultural impleme n ts
represe n tation s
by the
,
attributes proper to the diff ere n t deities ;
to
the remai ni ng angles
betwee n the angles are figures of boys most
,
by the an im a ls appropriate
,
those compa rtme n ts of the vau lti n g
beautifully foreshorte n ed they are hoveri n g
on e
on
ear him is Gan ymede
L ower down is the chariot of
.
is born e to heave n
Graces who are aided by M ercury
an d
,
n
,
in
in
the richest variety disposed
,
as be a uti ful as it is possible that works of the kin d
ca n
be
.
This master likewise gave a desig n for the stables of the Chigi Pa lace
with that for the chapel belon gin g to the same A gost i no C higi
1
The
p i ctu r
es of
D el l a Rep a r a z i on e
,
&c
the
.
F r
i
a nes na
we
r r tore d
e
es
bv
C rl o M r tti —Ed
a
a a
.
.
Flo
r
.
in
,
the Church
1 8 32 - 8
.
Se e B e
ll ri
o
,
R A P H A EL
L I FE O F
52
.
of San ta M aria del Popolo this he pai nted also an d furthermore made
preparation s for the con struction of a magni ficen t sepulchral mon ume n t for
1
,
,
,
which
Lor en z e t t o
caused the Flore n ti n e sculptor
be
these are stil l
his house situate
in
the death of Raphael
,
d
an
had
n ow
n eat e
d,
an
that
n
V in i ziano
5
.
Leo X
attained to such high repute that
,
on
.
comman ded
the upper floor of the
amely wherein the victories of Constan tine are deli
certain very rich tapestries in silk
an
d
The Pop e al so desired to have
6
.
gold prepared whereupon
R aphael
,
made ready the C artoon s which he coloured also with his own h an d
,
them th e exact form
an
d
size required for the tapestries
despatched to Flan ders to be wove n
Rome
were sen t to
But
.
aft e r wards that of A gostino caused the execution
this work he accor di ngly began
d
3
4
,
him to commen ce the pain ti n g of the great hall
Papal Palace ,
fi g u r e s,
Rome
the M acello de Corvi in
in
of the sepul chre to be made over to S ebastiano
Raphael
to execute two
2
an
,
d
,
gi vi ng
These were the n
.
whe n the cloths were fi nished they
This work was so a dmi r ably executed that it awake n ed
7
.
A ccord i g to th e It l i an c omm e t tors Ra ph l mad e t h e c a rtoo s fo th i ch ap l b t d i d ot
e x cute th e m
i d t o be by th e Ve et i a L u ig i da Pa c e ca ll e d M ae stro L isacci o
Th e M osa i c i
Th wh ol e wor k h as be e fi ely e grav e d b y G ru e r R ome 1 8 40
T h y r pre e t t he Proph ets El i h a a d J o s th e l t sa i d t o h av e b ee n model l ed by Raph ael
h i m elf
T hey a ow pl ce d i t h e C h ap el w i th two oth er figures by B e rn i i th e l tte r rep rese ti g
th e Proph t D a i l a d H ab akk u k
Ago t i o C h i gi d i e d a f w d y s afte r th e d eath of R ph a l h i m el f o t h e l 0th of A p r il
am ly 1 52 0
Seb ti o L uc i a i b ette r k n own a mo g ou rse lv es a s S eb a st i a o del Pi omb o so c all e d fr om t h e
ffi c e of i g e t (p i omb o) b ea re r wh i ch h e h e l d u n d e r Cl e me t VII
6
H e m d e t h e d i gn for t h e g e r l rr a ge me t th a t i s t o say wi th t h e c rt oo s f r t h e
Sp eech of C o ta t i e t o h i sol d i e rs th t fo t h e b attl e
ll gori cal fig u es of
nd th ose for t h e
J us ti ce a d C l e mency T h ese l as t b e c u se d G i uli o Roma o nd F ranc esco Pe i t o p i t i oil o
th e w l l b y w
F or
y of spe c i m e ; t h e r em i d e r we re e x e cut ed b y h i s d i sc i pl e s ft r h i d eath
d etai l s re pe ct i g th ese work s e Passa n t a nd t he ma y oth er a uth ori ti s ab ov e c ite d
7 Th e a
t p tr ies w re s t t o Ro me b t t h e c a rtoo s we re not re tu r ed S ven of t h e l atte r of
wh i ch th e re we re or i gi
lly te n a e now as our rea d ers are awa re at t h e South Ke i ng ton Mu seum
of th e r e m a i i g th r ee c e rt a i
fr gmen t only now e x i t
1
e
e
n
e
s
e
n
n
n
n
n
s n
s
,
na
n
n,
s
r
e
,
u
n
u
,
.
.
,
as
:
.
3
re n
s
e
n
,
n
a
,
n
n
.
e
a
a
e
s
n
,
.
5
as
s
an
n
n
es
n
n
n
ne a
s
n
r
n
,
es
e
,
s e
va
,
,
n
a
,
,
n
a
a
r
a
a
u
n
,
s
n
,
s
.
o
r
a n
e
e
n
,
n
e
nn
a
a n
en
na
,
.
,
a
n
n n
n
a
a
,
.
a
s
n
,
ns
,
n
,
n
a
a
n
n
,
o
a
n e
e s
n
ae
,
sa
s
.
2
n a
a
n
s
n
,
.
.
.
e
,
ns
n
L I FE
54
OF
R A P H A EL
.
he brought i t to the h i ghest perfect i on dep i ct ing the S av i our t ra n sfigu r e d
on M ount T abor wi th eleven of the d i sc i ples awai t i ng h i m at the foot of the
M o unt T o these i s meanwh i le brought a youth possessed of a sp i r i t who i s
,
,
,
.
als o awai t i ng the descent of C hr i st by whom he i s to be l i berated from the
,
demon
T he possessed youth i s sh o wn i n a d i storted att itude stretch in g
1
.
fo rth h i s l i mbs cry i ng roll i ng h i s eyes and exh i b i tin g i n every movement
,
,
,
the su ffer i ng he endures ; the flesh the ve i ns the pulses are
seen to be
al l
,
,
,
contami nated by the mal i gn i ty of the sp i r it th e terror and pai n of the
,
possessed be i ng rendered further man i fest by h i s p all i d colour and wri th i ng
gestures
T he figure i s supported by an old man i n whose
.
W
i dely open eyes
the l i ght i s reflected he i s embrac i ng and see ki ng to comfort the affl i cted
,
boy h i s k n i tted brow and the express i on
,
h e n si o n
of
h i s face show at once the
he feels and the force w i th wh i ch he i s labour i ng
,
he l o o k s fixedly at the apostles
fr o m the i r aspect
as
i s the pr inc i pal figure there i n
,
pp r e
combat h i s fears ;
if hop ing to der i ve courage and consolat i on
T here i s one woman among
.
to
a
and
o
thers i n th i s p i cture who
k neel i ng before the two j ust
wh o,
descr i bed turns her head towards the apostles and seems by the movement
,
,
of her arms i n the d ir ect io n of the possessed y o uth
m i sery to the i r attent i on
s o me seated
,
an d o
T he
.
thers k neel ing
feel for that great m i sfortune
In
A postles
,
to
be poi nt ing
out
his
also some of whom are stand ing
,
,
o n they
i
ve
ev
i
dence
of
the
deep
compass
i
g
.
th i s wor k the master has of a truth produced figures and heads of such
extraord inary beauty so new so var i ed and at
,
,
,
among the many w o r k s executed
of
,
by
po ints
all
so
adm i rable that
,
h i s hand th i s by the common consent
,
,
all ar ti sts i s declared to be the m o st worth ily renowned the most
‘
,
,
excellent the most d iv in e
,
W hoever shall des i re
.
to
see in what manner
C hr i st transformed i nto the G odhead should be represented let h i m c o me
'
,
F or thi work R aph ae l w t o re c e i e 6 55 d c a t ;
death w ere th en made o er t o hi h e i r Gi li o R omano
pict r —Ed F l or 1 8 32 8
1
s
as
v
,
u e
.
s
-
.
v
.
,
u
u
22 4
s
,
wh o
of which re ma i n i ng n p a i d a t h i
p robab ly work ed w ith hi m a t thi
u
s
s
TH E
TR A
IN
N S FI GU R A T I O N
TH E V
A T I CA N
.
.
l o w er p ar t o f t h i s p i c tur e o n t h e r i g h t h an d a fa th e r h as b ro ug h t h i s s o n
p o s s e s s e d o f t h e d e vi l a n d i m p l ore s t h e a ssi sta n c e of t h e A p o stl e s w h o are
w a i ti n g u p o n J e s u s a t t h e fo o t o f M o un t T a b or
a cc o m p an yi n g t h e l a d are e i g h t
m e m b er s of h i s fa m il y
T h e A p o s t l e s n o t h a v i n g t h e p o w e r t o c a s t o u t d e vi l s p o i n t
t o t h e i r H ea v e n l y M a s t e r w h o s ur r o u n d e d by c e l e sti a l rad i a n c y a pp ea r s fl oa ti n g i n
th e a i r b e t w e en M o s e s a n d El i a s T h e th re e A p o s tl e s St P e t er St Ja m e s an d
St Jo h n w h o h a v e fo ll o w e d J e s us t o th e m o u n ta in h a v e t h ro wn t h e m s e l v e s u p o n t h e
ear t h d a z z l e d wi t h t h e b r i g h t n e s s o f t h e Tra n sfi gur a ti on O n t h e i r l eft are t w o pr i e sts
w or s h i pp in g
T h e s e i t i s b e l i e v e d w ere i n t ro d u c e d b y R a p h ae l a t t h e re q
u est o f t h e
C ard i n a l Gi ul i o d e M e d i c i —Pa ssa v a n t
the
,
,
,
,
:
,
,
.
,
,
,
,
.
.
.
,
.
,
,
,
.
,
,
.
,
’
.
t h e l a t p i c tur e p a in t e d b y R a p h ae l w h o l eft i t p ar t l y
d ea t h It w a s h un g a b ove h i s c o ffi n i n t h e grea t h a ll i n w h i ch h e l a y
b o r n e b efo re h i m i n h i s fun era l p ro c e s s i o n
T hi s was
s
,
.
.
un
in
fi n i h ed at h is
sta t e a n d w
s
,
as
L I FE
and behold i t i n t h i s p i cture
i n the clear
ai r
P HA EL
RA
OF
55
.
T he S av io u r i s shown floati ng o ver the mount
.
the figure foreshortened i s between those of M oses and
;
,
,
El i as , who , illum ined by hi s rad i ance , awa k en i nto l i fe beneath the splendo u r
of
the l i ght
P rostrate on the earth are P eter J ames and J ohn in atti tudes
.
,
,
,
of great and var i ed beauty one has h i s head bent ent i rely to the groun d
,
,
another defends hi mself w i th h i s hands from the br i ghtness of that i mme ns e
l i ght wh i ch proceeds from the splendour of C hr i st who i s clothed i n
,
,
vestments of snowy whi teness h i s arms thrown open and the head rai sed
,
,
towards heaven wh il e the essence and G odhead of
al
,
the three pers o ns
l
un i ted i n h i mself are made apparent in the i r utm o st perfect i on by the d i v i ne
art of Raphael
,
.
B ut as i f that subl i me gen i us had gathered
the force of h i s powers
all
i nto one e ffort whereby the glory and the maj esty of art should be made
,
man i fest i n the countenan ce of C hr i st ; havi ng complet e
d that as
who
o ne
,
had fini shed the great wor k wh i ch he had to accomplis h he touched the
,
penc i ls no more be i ng shortly after wards overtak en by death
,
1
.
Havi ng now descr i bed the w o r k s of th i s most excellent art i st
,
w il l
I
not
perm i t myself to cons i der i t a labour to say s omewhat fo r the benefit of those
reader w ill re q i re t o be re mi nded th a t th e gl or i o T ran fig ra ti on of Ra phae l is w i n
th e V atic an I t w ta k en w ith o th er w ork t o P ari i n 1 79 7 and w th ere cl eaned h a i g be c ome
a l mo t i nd i ti ng i h abl e
T h e p ai n t r remark th e G erm an annota t r S ch orn h ad cc eeded i
ex p re i ng th e li ght e mana ti ng from th e p er on of C h r i t and ill mi na ti ng th o se beneath by a
of chi re c ro b t th e l amp b l ack h a i ng been ffe cted b y t h l a p e of ti me m ch of th e
ma t erly
or i gi na l bea ty of th e w ork i l o t T h e h ead of th e A po tl e A ndre w t h fig re of th e knee l i ng
till re ma i n ne erth e l e to g i e a fa i r i dea of w ha t th e wh o l e h been
ma i den and o th er p art
F or mi n t de ta il re p ecti ng thi work
Fi o il l G hi ch t d M l r i i I t l i
M ar c o d i
i w
Fi g era E m A l i ti c d l Q d r 1 l T mfigj
Con tan ti n I dé I t l i m
l
h g
S
F
al o
1 8 40 ; and R m o h r I t l i
él éb es F l r
ql q T b l
t f S t t s P i ti g & L d 1 722 ; D pp L ondon 1 8 1 6 ; w ith man y
R ich ard on A c
o th er w riter wh h a e t reat ed thi bje ct w ith more or l e ab ility A ery fine dra w i g made for
S
th
th e engra i ng of t his work i
w a t So th Ken i ngt on r m o ed fro m H ampto n Co t
m on
t
n
M
and
an
ar
ticl
e
i
n
a
re
c
h
m
e n t n mber of th e A th
t
h
K
nsi
o
S
e
t
o
us
C t l g
f
g
th e Cart oon s dz
Fe w
s
as
.
s,
,
u s
s
s
us
u
e
.
”
us e
s
a
-
s u
s
s
ue
ra
,
s
na
en
ea u x
a
ues
,
r
o
r
cou n
o
o
v
s,
s
s
e
a ue
e
ue o
,
c
u
.
ss ,
,
se e
r
ua
o
( 6
,
a n
o,
s,
e
.
ur a c o i
'
on
n
s
u
eu
,
s
.
a
,
,
e
.
n
a
a,
en
es
,
enesc i e
u
on ,
ss
no
u
a e e
er
e
esc
u
n
e
,
u
,
v
ra
a
s
”
as
s su
s
v
v
o en ce ,
,
e
s
,
n
,
a
.
s, s
,
a a o
s
su
,
,
u
,
v
-
u
,
u
ue
s
v n
,
o
s
no
as
,
s
,
ss
u
s
u
s
or s r
un
.
a
cn
.
.
n es
sur
ee
s
,
v
n
ur
v
u
.
ee
enceu
e
L I FE
56
R A P H A EL
OF
.
who pract i se our call ing respect ing the manner of R aphael b efore proceed ing
,
,
to the relat i on of such part i culars as remain to b e spec ified in regard to other
c i rcumstances of h i s l i fe and to those wh i ch relate to h i s death
I n hi s
.
,
ch i ldh ood he had i m i tated the mann er of h i s master P i etro P eru g in o but
,
,
had greatly amel i orated the same whether as regarded des i gn colourin g or
,
,
,
i nvent i on : having done th i s i t then appeared to h i m that he had done
,
enough but when he had atta i ned to a r i per age h e perce i ved clearly t hat
,
O n b ecom i ng acquai nted w i th
the wor k s of Leonardo da V inc i who i n the express i on wh i ch h e gave to hi s
heads whether male or female had no equal and who surpassed all other
pain ters in the grace an d movement wh i ch he i mparted to h i s figures ;
seein g these wor k s I say Raphael stood confoun ded i n aston i shment and
adm irat i on : the manner of Leonardo pleased him more than any other that
he had ever seen and he set h i mself z ealously to the study thereof w i th the
utmost z eal ; by degrees therefore abandon ing though not w i thout great
d i ffic ul ty the manner of P i etro P erugi no he endeavoured as much as was
poss i ble to i m i tate that of Leonardo
But whatever pai ns he took and in
sp i te of all h i s most careful endeavours there were some po i nts and cert ain
d i fficult i es of art i n wh i ch he could never surpass the last named master
M any are w i thout doubt of op i ni on that Raphael surpassed Leonardo i n
tenderness and i n a certa in natural fac il i ty but he was assuredly by no
means super i or in respect of that force of concept i on and grandeur wh i ch i s
so noble a foundat i on in art and i n wh i ch few masters have proved them
selves equal to Leonardo : R aphael has nevertheless approached h i m more
nearly than any other pai nter more part i cul arly i n the graces of colour i ng
he was st ill too far from the truth of natur e
.
,
,
,
,
,
,
,
,
,
,
,
.
,
,
l
.
,
.
,
,
.
I t l ian c o mmen t t or h ere remark th a t no tw ith tand i ng t h e mar ell o gen i of
L eonardo h e w
ex c eed i ngly w hi m ic al and fre q en tly so ght th e diffi c lt w e ll
good
th
Raph ael l ook ed on ly t o th e p erfe cti on of h i work d i f i mpl e mean ffic ed to p rod c e th at
w ith th e e m ean h e c on t en t ed hi m e l f
w r it er
I t m y th erefore be fa i rly i n q i red c on ti n e
wh e th er i n th es e
d i ffi l t i
of V a ari Ra ph ae l c o l d no t or wh e th er it w th a t h wo l d no t
rp a Leonardo T hi i a q e ti o which we l ea e r reader to de t erm i ne
1
An
,
a
a
s,
as
s
u
,
s
s
s
s
cu
su
ss
”
.
s
es
s
’
s
u s
,
a
.
n
s
,
u
an
u
s
s
u
,
,
u
,
v
v
ou
as
s
us
as
su
e
u
”
,
as
,
us
.
,
u s o ur
e
.
u
,
,
R A P HA EL
L IFE O F
58
perfection ; or if he do attain it must do so
at
,
an
d
.
the cost of much lon ger time
greatly increased labour
A t the time whe n Raphael determin ed to change and ameliorate
.
mann er he had never give n his atte n tion to the n ude
,
of care
an d
for m , w i t h
hi s
that degree
_
study which the subj ect demands havi n g draw n it from the life
,
only after the man ner which he had see n practised by Pietro his master
adding nevertheless to
him by n ature
of the
n
al l
,
that he did that grace which had been imparted to
,
B ut he the n ceforth devoted himse l f to the anatomi cal study
.
ude figure and to the investigation of the muscles in dead and
,
excoriated bodies as well as in those of the livi n g ; for in the latter they
are
n ot
so readil y to be dist i ngui shed because of the impediment prese n ted
,
by the coveri n g of the ski n as in those from which the outer i n tegume n ts
,
have bee n removed ; but thus exam i n ed the master learn t from them
,
what man n er they acquire fu lness
due proportion
,
and all
man ageme n t of ce rtain
in
in
d
softn ess by their union each in its
,
their respective places
fl e x u r e s,
various attitudes as see n
an
,
an d
how by the due
the perfection of grace may be imparted to
d ifferent aspects
.
Thus also he became aware of
the e ffects produced by the inflation of parts
,
an
d
by the elevation or
depression of an y given portion or separate member of the body or of
whole frame
.
,
,
& c,
t he
The same researches also made him acquain ted with the
articulation s of the bon es with the distribution of the
the ve i ns
in
by the study of all which he ren dered
n
erves the course of
,
h imself
excelle n t in
every poi n t requi red to perfect the painter who aspires to be of the best :
kn owin g
n
,
evertheless that in this respect he coul d never att ai n to the
,
emi n ence of M ichael A ngelo ; like a man of great j udgmen t as he was he
"
,
con sidered that pai n ti n g does not con sist wholly in the del i neatio n of the
n
ude form but has
,
.
a
much wider field ; he perceived that those who possess
the power of expressin g their thoughts well
an d
with fac i lity
,
an d
of givi n g
e ffective form to their conceptions likewise deserve to be e n u merated amon g
,
the perfect pain ters ;
an
d
that he who in the composition of
,
hi s
pictures
JO AN
OF
I N THE L O W ER P AR I S
,
.
da u g h te r o f F er di n an d of Ar ra gon Du k e o f M on ta l t o
n a t ur al s on o f F e r d i n an d I Ki n g o f N a pl es
Sh e m arr i e d A scan i o C ol onn a
Cons tab l e o f Na ples Her b ea u ty an d
o f T a l i a c o zz o an d Du k e o f Pa l i n o
g
g
h e r wi t r en d e r e d h er on e o f t h e m o st d i s ti n gui s h ed wom en o f t h e si x tee n t h ce n t ury
an d s h e r e t a i n e d t h i s d o u b l e c e l e b r i ty t o a v e r y a d van c e d a g e ; s h e w s n a m e d
th e
”
di v i n e an d m o re t h an thr ee h un d r e d p oe ts sa n g h er prai s es
T hi s p o r t ra i t i s s u ppose d t o h a ve b e en pa i n te d for Lo r en z o d e M edi c i an d b y h im
p re se n te d t o F r an c i s I It i s n ow in t h e Ga ll e r y o f t h e Lo u v r e —P(w a v a n t
th e
,
,
'
.
.
a
,
,
.
,
a
.
,
,
.
.
s
.
L I FE O F
shall n either confuse them
b y t oo
RA P H A EL
59
.
much nor re n der them poor by too little
,
,
but gives to all its due arrangement and j ust distribution may also be
,
reputed a j udicious and able master
.
Raphael
But in addition to this as
,
rightly j udged the
a rt
,
should be
further e n riched by new and varied i n ven tion s in perspective by views
,
bui ld i ngs by lan dscapes by a graceful m anner of cloth in g the figures
,
,
of
an d
,
by causing the latter sometimes to be lost in the obscurity of shadows some
,
times to come prominently forward into the clear light ;
perceive the importance of givi n g beauty
wome n
an d
chil dre n or of impartin g to
or old such an amoun t of spirit
an
,
occasion
.
all
,
d
an d
,
did he fail
to
anim ation to the heads
of
nor
whether m al e or female young
,
moveme n t as may be suited to the
H e gave its due value likewi se to the attitudes of horses
,
scen es to their moveme n ts
,
in
,
flight
the due represe n tation of an imals
,
in
an
d
all their varied forms did
,
n ot
,
inte n ded to represent
an
,
Raphael
.
accessories of other kinds
an d
d
battle
to the bold bearing of the war riors
consideration still less did that of so portray i ng the likenesses of
they may appear to be alive
in
escape his
men
may be k n own for those whom they are
perceived in like ma nn er that inn umerable
of all sorts were equally to be take n int o
accoun t as for example the orn ament of the work by well arran ged
,
beautiful draperies
,
an
d
that
an d
vestme n ts of every k ind ; by due attention to the
he l mets and other parts of armour to the appropriate clothi n g of the feet
,
an d
,
to the head dresses of women : he saw that equal care shou ld be accorded
-
to the hai r and head of figures to vases trees grottoes rocks fires the air
either turbid or sere n e
darkn ess of night
,
the
obj ects beside to every
,
,
clouds
,
on
rains tempests lightn ings dews
,
,
,
,
,
,
on e
he resolved sin ce he coul d
An gelo
,
,
moonl ight the sunshine and an infi n ite variety
of which atte n tio n
me n ts of pai nting : all these thi ngs
,
,
,
,
,
n ot
,
I
is
,
the
of
demanded by the require
say bei n g well con sidered by
,
R aphael ,
attain to the emine n ce occupied by M ichael
the poi n t after which he was the n l a bouring to equal or perhaps
,
,
to sur pass him in those other qualities that we have j ust enumerated and
,
L I FE
60
thus he devoted himself
,
waste his time
in
O F R A P HA E L
.
to the imitation of B uo n arroti lest he should
n ot
,
,
parts generally of which we have here made me n tion
And
well would it have been for many artists
don e the same
,
of
useless e fforts but to the attainme n t
in
perfection
those
1
.
o
f
our day if they had
of p ursuin g the study of M ichael A n gelo s works
i nstead
’
alon e wh erein they have n o t bee n able to imitate that master n or fou n d
power to approach his perfection they would n ot the n have exhausted them
,
,
,
e ff o r t , n or
selves by so much vain
acquired a man n er so hard so laboured
,
so e n tirely destitute of beauty being as it is without
merit of colouring
,
d
exceedin gly poor
in
conceptio n ; but instead of this might very possibly
,
in
y
,
an d
by the adoptio n of more extended vi ews
tion
an
,
,
,
an
,
the e n deavour to attain
p er fe c
other departme n ts of the art have don e cre di t to themselves as well
,
as re n dered service to the world
2
.
H avi ng made the resolution above referred to therefore
,
that Fr a B artolommeo had a very good manner
correctly
,
an d
in
,
an
d
learni ng
pai ntin g drew very
,
had a pleasing mode of colouring although with the i n ten tion
,
,
of givin g more relief to his fi gures he sometimes made
,
k n owing all this
,
Raphael
mann er as he should
fin d
hi
s
shadows too dark :
determine d to adopt so much of the M on k s
’
needful or agreeable to
an d
course that is as rega rded design
,
colouring
,
hi m ;
an d
to take a medi u m
min gli ng with what he
obtai n ed from the ma nn er of Fr a Bartolommeo other qualities selected from
,
fin d
the best that he could
formed
bee n
,
o n e,
an
d
in other masters of man y man n ers he thus
,
,
which was afterwards con sidered his own
ever wil l be highly esteemed by all artists
3
an d
,
which ever has
.
d scarcely re mar ob e rv s S ch or
th t i hi pa r ti al i ty for M i ch ae l Ang l
V r i h e re a ttr ib ut th t wh i ch wa i d e d th e eff ct of R ph e l u i v e rsali ty of ge i us t h i
upp o d r i v l y wi th th e fi t —amed m t r Pucc i i has a ob se rv ati o t o t h e me e ffe ct
Th e re m rk s w h i ch V
ri h e r m ak es i r g rd t o h i s f ll ow stu d t
e d e cl re d w i th
r aso by l l wr i te rs wh o h av e ote d t h e p as age t o b more e sp e c i ally appl i cab l t h i ms l f d h i
w rk
ow
Th e a t of Raph ael woul d i d eed h v e rem a i ed m ost i e rt and l i fel ess h ad i t c onsi sted i t he
We
1
ne e
asa
s
es
ar
se
9
e
s
a
n
o
3
n
s
rs
a
n,
a
n
e
as e
as a
e
a
n
e
’
n
.
e
n
n
"
n,
s
e
a
s
a
n
a
e o,
’
s
n
n
n
e
-
sa
e
o
o
a
e
an
s
s.
r
n
a
n
n
,
s
.
en s , ar
e
,
,
n
L IF E O F R A P HA E L
62
.
black or printer s black which as we have more than once remarked does
’
,
,
,
of its n ature become evermore darker with time
other colours used with it had he
,
,
an
d
is thus inj urious to the
don e this I believe that the work
n ot
,
woul d now be as fresh as when he pai n ted it ; whereas it is on the con trary
,
n ot
a little darken ed
,
,
.
I have thought proper to make th ese remarks at the close of this life, to
en d,
the
that all may discern the labour study
,
hon oured artist co n stan tly subj ected himself
,
t i c u l ar l y ,
an
,
d
an d
care to which this
with a view more par
,
to the be n efit of other painters who may learn from what has been
,
said to avoid those impediments from the influe n ce of which the ge n ius and
,
,
Raphael
j udgment of
availed to secure him
observation that eve ry
,
man
I will also add the further
.
shoul d con tent him self with performi ng such
works as he may reasonably be supposed to be capable of
his inclination
an
d
the gifts bestowed
on
,
n ot
d
equ al to by
,
him by n ature without seekin g to
,
conte n d for that which she has not qualified him to attain
do that he may
an
,
an
d
thi s let him
uselessly spend his time fatigui n g hi mself vainl y
n ot
,
unfreque n tly to his own i nj ury as well as discredit
,
‘
L et
.
,
na
y,
it be observed
,
moreover that when what has bee n accomplished su ffices it is not good to
,
,
make further e fforts merely in the h e pe of surpassing those who by some
,
special gift of nature or by the particular favour accorded to them by the
,
A lmighty have performed or are performing miracles in the art ; for it is
,
,
certain that the
,
he may
ca n
,
m an
,
who has not the needful e n dowme n ts let him labour as
,
never e ffect those thin gs to which another havi n g received the
,
gift from nature has attai n ed without di fficulty ;
an d
,
of this we have
an
example amon g the old masters in Paolo U ccello who struggling again st
,
,
the natural be n t of his faculties to make prog ress
backwards in stead
on
a give n path wen t ever
,
The same thin g has bee n don e
.
but a short t i me sin ce by Jacopo da Pon tormo ;
,
na
in
y,
our
ow n
days
A p i e ce of a d v i c e of such v alue rem ark s a c omp atr i ot of o r a uth or th at i t
u efully wri tte ov e r th e e t ra c e of ev ery a cad emy of th e fi e a rts th rou g h out Eu rope ”
’7
u
,
s
n
n
n
n
an d
examples have been
’
"
,
,
.
m
i ght
be
L I F E O F R A P HA E L
63
.
seen in the experience of many others as we have sa id before and
,
often be said again
And
.
as
,
wi ll
this is permitted to occur perhaps in order that
,
,
whe n H eaven has distributed its favours to mank i nd each one may be
,
content with the portion which has fallen to his lot
.
B ut I have now discoursed respectin g these questions of art at more
length perhaps than was needful and will return to the life and death of
,
Raphael
in
This master lived
.
the strictest in t imacy with Bern ardo
C ardinal of Bibbie n a who had for many ye ars importun ed
Raphael
wife of his selection nor had
,
d i rectly refused compliance with the
wishes of the C ardinal but had put the matter
o ff,
,
wait some three or four years lon ger
approached before
Raphael
Cardinal of his promise
an
,
not depart from his word
himself for
hi s
wife
by say i n g that he w o uld
The term which he had thus set
.
had thought of it whe n he was reminded by the
,
d
bei n g as he ever was j ust
an d
,
an
restraint to him he put
,
o ff
upright he would
d
,
therefore accepted a niece of the Card i n a l
But as this en gagement was
.
n
evertheless a heavy
the marriage from time to time i n somuch that
,
several mo n ths passed and the ceremon y had not yet taken place
was not done wi thout a very honourable motive for
,
for many years in the service of the Court
for a large
su m
to take a
him
,
Di v i z i o ,
,
an
d
Raphael
Ye t
1
.
this
havi n g bee n
Leo X
being the creditor of
.
of money had received an i n timation to the e ffect that whe n
,
,
the H all with which he was the n occupied was completed the Pon t ifl
'
,
intended to reward him for his labour s as well as to do honour to his talents
by bestowing
si d e r a bl e n
him the red hat
on
2
,
of which he mean t to dist ribute a
con
umber man y of them bei n g designed for pe rson s whos e merit s
,
w
i te d d b ri d of Raph l w M ri B ibb i
b t th i l d y d i d b f r h d i d
f R ph l h i m l f
by t h t es t m t ry i j u ct i
l r fr m th i c r i pti o pl c d i t h P th
f
It i th er f r ot i mp rob b l th t t h t ru e c u f t h m rr i g b i g d f r d w th i ll
lli
d oth r
M
t h l d y —S l m
u i r t b r mi d d th t t h d hat i th t of c rd i l d th t t
w re q
N r d r w i ll
rece i v th d h t i q
u i val e t to be i g r i ed t th d i g i ty f c rd i l f t h R m Ch h
Th e
ea n
e
o
n
e
a
n
ns
2
e
ai
o
,
a
a e
a
ass e
,
s e
as
a
an
eon
e na ,
a
e
a
en a
n
a
e n
e
e
a
s
u
a
e
a se o
e
a
n
e o e
e
a
on o
e e re
as
a
na
,
as
ae
e
e
se
.
ne ss o
e s.
an
e
n
e
n
e,
no
ea e
e re
ae
e
e o e, n
s,
e
n
e
o
n
e
a s
n
o
e
n
o
a
s
e re
a
e
a
a
na
o
e
a
o
an
,
an
urc
a
.
o
L IF E O F R A P HA E L
64
were greatly in ferior to those of
Raphael
.
The painter mean wh i le did
l
.
aban don the li ght attachme n t by which he was enchained
hi s
return in g to
house from
an
,
n ot
one day
d
on
of these secret visits he was seized with a
on e
,
”
viole n t fever which bei n g mistake n for a cold the physicians
i n con si d er
,
ately caused him to be bled whereby he foun d himself exhausted whe n he
,
,
had rather required to be stren gthen ed
Thereupon he made his wil l
.
an d ,
,
as a good Christian h e se n t the obj ect of his attachme n t from the house but
,
,
left her a su ffi cien t provision wherewith she might live
decen cy ; havi ng
in
Romano,
don e so much he divided his property amo n g his disciples ; Giulio
,
th a t is to say whom he always loved greatly
,
Giovan n i Francesco with
d
an
,
3
,
whom was j oin ed a certain priest of U rbin o who was his kin sma n but whose
,
n
ame I do
k n ow
n ot
4
,
H e furthermore comman ded that a certai n portion of
.
his proper t y should be employed in the restoration of one of the an cie n t
tabern acles
place
6
,
5
Riton da ,
San ta M aria
in
which
for whi ch he had ordered that
an d
had sel ected as his burial
he
altar with the figur e of O ur
an
,
fath e r P g i l o i d t he d voc ate C F ea d e y th a t th e re w as y i te t i o of th i
ki d o t h e p a rt of L eo b t L o gh e i a n te t o th e I stor i a m k e c ert i ob e rv t i o from
w h i ch i t
m p rob ab l e th t wh t w e h e r r d i
t ru W e l e ve o r ad e r t o d ec i d
e v e th e l
b et wee th e
a uth r i t i
b t i t i t b re ma rk e d th t o i n t c of t h c a rd i l h t h v i g b
b e tow d i r e c om p se of a rt i t i c t al e t h a yet b
k ow
v a t a d all w h ose res ea rch e e t i tl e th m t o tte t i o gre t
L o g h a Pu g il e i P
ttr i b ute th e f v r wh i ch d p r i v d t h e w rl d of th i gre t p i t r t o t h e t oo ear est z eal of h i s l abou r
i t h e e x mi a t i o of t h e R m
a ti ui ti
q l ab ou r wh i ch re d re d a fr me p rematu rely w k e ed b y
f t l ly p rev l t i t h e l ocal it i t wh i ch h i
m e t al e x e rt i o
m l ri
a
as y p rey
to th
res arch s m u t of e c i ty h av e l ed h i m
ueath d t h
To th e di c i pl es h e l e ft h i s a rt i ti c p osses i o o ly t o C a rd i a l B i b b i a h e b eq
p l ac e b u i lt fo hi m b y B r m t
th t c i ty
Th p r i e t of Urb i no hi ki m
a d t h e B r oth e rh ood of t h e M i e r i c ord i a i
d i v i d i g a c e rt i n p orti o n of t h e mas t r p rop e rty b e twee th em d t h rema i nd r g oi g t o h i
ki smen o th e moth e r si d e th e so s of G i ov i B tt i ta C i rl
5
Th P th e
i p op l r ly so c ll d
6
m s t o b e p e rform e d y e rly fo t h e r p o e of h i soul i S t
R a ph e l al so l eft fu d for
M r i d M r ti/
res so i s th e P t h o l so c all d
Th e
un
e
n
n
s
e
n
9
en
n
a
on
e e
n
a
n
e
e
n
s
3
a
n
an e
a
s
s
n
e
na
e
n
’
s
ns ,
e
s
a
a
e
n
een
n, a
n
a
e
ea
a
e
es
n
o
s
n
,
a en
a a
so
s
an ,
ns
s
’
ns
n
s
o
e
en
n
n
n
u a
ann
a
a
s
an
e
e
e
s
a
an
e
e
,
s
n
a.
.
as
n a
a
,
a
n
s
n
s
n
,
n
,
a
ur
a
e.
a
s
s
.
e
a
a a
a a
a n
n
n
.
a n e
a
n
.
,
on
n
n
s
s an e
n
s
s
’
e ss
s
e s,
n
a
an
ee n
s
e ss
s
e
a
an
r
s n
n
,
a
,
a
e
a
n
n
ea
o
e
r
n
n
s
e
o
s
e
o
n
es
as sa
an
n
,
e
n
,
e
ns ,
n
o
s
s
n
,
n
e
u
en
.
na ,
a
es
o
a
n
a
se
n
an
,
u
,
se e
s
n
a
e
.
r
e
s
s
n
an a
L I FE
66
RA
OF
P HA EL
.
O h most happy and thr i ce blessed sp i ri t of whom all are proud t o
speak whose act i ons are celebrated w i th prai se by all men and the least of
whose wor k s left beh i nd thee i s adm i red and pr iz ed "
W hen th i s noble art i st d i ed well m i ght P a i nt i ng have departed also for
when he closed h i s eyes sh e too was left as i t were bl in d
But now to us
whose lot i t i s to come after h i m there remain s to i m i tate the good or rather
the excellent of wh i ch he has left us the example and as our obl i gat i ons to
h i m and h i s great mer i ts well deserve to reta in the most grateful remem
brance of h im i n our hearts wh i le we ever mai ntai n h i s memory i n the
h ighest honour w i th our l i ps T o h i m of a truth i t i s t h a t w e owe the
possess i on of invent i on colour i ng and execut i on brought al ik e and alto
gether to that po i nt of perfect i on for wh i ch few could have dared to hope ;
n o r has any man ever asp i red to pass before h i m
A n d i n add i t i on t o the benefits wh i ch th i s great master conferred on art
be i ng as he was i ts b est fri end we have the further obl igat i on to h i m of
hav ing taught us by h i s l i fe i n what m a nner we should comport ourselves
towards great men as well as towards those of lower degree and even
towards th e lowest ; nay there was among h i s many extraord i n a ry g ifts one
of such value and i mportance that I can never su ffic i ently adm i re i t and
gr i ef
l
,
.
,
,
,
,
2
.
,
,
,
,
,
,
,
.
,
,
,
3
.
,
,
,
,
,
,
,
ri ng h i ill ne w hich l a ted a fort n i ght R aph ae l i a i d t o h a e re c e i ed p roof of th e mo t
a ffe cti ona te i n tere t fro m all q art er no t ex c e pti ng th e Po p e hi m el f
H i pl a c e of b r i a l w
i n th P an th eon i mmed i a t e ly beneath th e fig re of th e M adonna
exe c te d
abo e a i d b y L
T h e t omb w o p ened i n O ctober 1 8 33 w h en th e k e l e ton
tt
w
fo nd rema i n i ng w ith th e k ll en ti re p ro i ng th a t a k ll p re i o ly p re er ed
th a t of
R aph ae l i n th e A c ade my of S t L k e i n R o m e w
no t th a t of th e p a i n t r T hi o p en i ng of th e
t omb of R a ph ae l i de c r i bed i n I tali an b y th e P r i n c e P ie t ro O de c alchi and i n G erman by th e
p a i n ter O erbe ck
V a ari h o mitted h ere t o m en ti on th e ci rc m t an c e th at R aph ae l w archite ct of S t Pe t er
nor doe h e h ere all de t o th e fa ct th a t h e w m ch o cc pi ed t o ward th e cl o e of h i life w ith
m ea re for th e re t ora ti on of an ci en t R o m e b t near t h e end of h i w ork and wh en p ea ki ng of hi
ob li ga ti on to th e writi ng of Loren o Ghi berti and Ghi rl andajo h e re m ark th a t th e annotati on of
R ph ae l w ere al o of th e m o t e en ti al e ic e t o h im
1
Du
s
ss ,
s
s
9
u
as
,
as
u
v
s
u
or e nz e
s
,
.
s
v
3
s
as
s
u
v
us
as
,
,
,
s
,
v
,
e
s
s
as
u
u
s
as
,
s
s
a
u
.
u
s
s
.
,
o
u
v
v
s
as
s
.
,
.
s
su
s
e
as
,
v
s,
u
s
s s
,
,
s
s
s
u
s
ss
as
u
s
,
s rv
.
.
s
s
,
s,
s,
s
s
s
u
z
’
s
L I FE
OF
RA
P HA E L
67
.
always th in k thereof w i th astoni shment
T h i s w as the power accorded to
h i m by Heaven of br i ng in g all who approached h i s presence into harmony ;
.
,
an e ffect inconce i vably surpr i s i ng in our call i ng and contrary to the na t u re
,
of our art i sts yet all I do not say of the i nfer i or grades only but even those
,
,
,
who lay clai m to be great personages (and of th i s humour o ur art produces
i mmense n u mbers ) became as of one m i nd once they began to labour i n the
,
,
Raphael ,
soc i ety of
cont in u ing i n such un i ty and concord that all harsh
,
feel ings and ev i l d i spos i t i ons became subdued and d i sappeared at the s i ght
of hi m ; every v ile and base thought depart i ng from the m in d before h i s
i nfluence
S uch harmony prevail ed at no other t i me than
.
h is
own
A nd
.
th i s happened because all were surpa ssed by h im in fr i endly courtesy as well
as i n art ; all co n fessed the i nfluence of h i s sweet and grac i ous nature whi ch
,
was so replete w i th excellence and so perfect i n all the chari t i es that
not
,
,
only was he honoured by men but even by the very an i mals who would
,
,
constantly fol low h i s steps and always loved h im
l
.
W e find i t related , that whenever any other pai nter , whether k nown
Raphael
to
or not requested any des i gn or ass i stance of whatever kin d at h i s
,
,
,
hands he would invar i ably leave h i s wor k to do h i m servi ce ;
be
,
k ept a large number of art i sts employed all
of
i nstructed w i th an affect i on wh i ch was rather
as
,
ch il dren than merely as of an art i st to a rt i sts
,
conti nually
whom he ass i sted and
that of a father t o h i s
From these th i ngs i t
.
followed that he was never seen to go to C ourt but surrounded a n d
accompan i ed as he left h i s house by s o me fifty pa in ters all men o f ab i l i ty
,
,
,
,
and d i st inct i on who attended h i m thus to g i ve evi dence of the hon o ur i n
,
wh i ch they held h i m
d id
He
.
n ot,
i n short l i ve the l if e of a pa in ter but
,
,
i n q uire a ea l o annot ator of o a th or w h among th e mos t a ffe cti ona t e
d i cipl e of t h e grea t p a i n t er c o l d e l ogi e h i m w ith m ore en th i as m and c ord i al ity than doe
l
so o fte n and so
p oor Va ar i
h
e
a
ll
de
th
e
b
it
er
re
p
roa
ch
of
p
ar
ti
a
ity
nj
tly
bro
g
ht
aga
i
n
t
t
t
(
h e t oo who was t h foll o w er no t on ly of ano th er ma t er b t of tha t o p re c i e ly
t h b i ogra ph er )
l i ed an tagon i t f th e obje ct of hi p ra i e
th
mo t p o werf l and mo t
wh w
W ho
l
”
s
,
z
s
s
,
u
s
u
u
as
e
s
us
z
s our
u
e
u
o,
,
o
"
e
o
s
u
ur
us
s
un
s
,
r
s
o
,
s
us
u
u
ne
s
"
.
s
s
L IF E OF
68
that of a pr i nce
RA
P H A EL
.
W herefore oh art of P a i nt ing " well m i ghtest t h e n for
.
,
thy part then esteem thyself most happy havi ng as thou hadst one art i st
,
,
among thy sons by
,
heaven
W
,
,
hose vi rtues and talents thou wert thyself exalted to
T hr i ce blessed i ndeed mayest thou declare thyself s in c e thou hast
,
.
seen thy d i sc i ples by pursu i ng the fo otsteps of a man so exalted acqu ire the
,
,
k nowledge of how l ife sho u ld be employed and become i mpressed w i th the
,
i mportance of uni t i ng the pract i c e
these were i n the person of
greatness of J ul i us
II
.
vi rtue to that of art
of
Raphael ,
the i r force avai led
and to a w a k en the generos i ty of
C onj o ined as
.
to
constrai n the
Le o X ,
both
of
whom hi gh as they were i n d ign ity selected h i m for the i r most in t i mate
,
,
fri end and treated h i m w i th every k i nd of fam il i ar i ty ;
,
means of the favour he enj oyed
in vested
him,
w i th
i nsomuch
that by
them and the powers wi th wh i ch they
he was enabled to do the utmost honour to h i mself and to art
.
M ost happy also may well b e called those who bei ng i n h i s serv i ce wo r k ed
,
,
under
own eye ; s i nce i t has been fo u nd tha t all who too k pain s
hi s
i m i tate th i s master have arr i ved at a safe haven and attai ned to a
,
s
p
e ct a
ble
labours
pos i t i on
in
.
In
l ik e mann er all who do the i r best to emulate
art w ill be honoured
,
resemble h i m i n
the
rect i tude of h i s
,
on
to
re
hi s
earth as i t i s certai n that all who
,
w i ll rece i ve the ir re ward i n heaven
.
L IF E O F
70
RA
P HA EL
.
T he C ount Baldassare C ast i gl i one also wrote respect in g
master i n the manner follow i ng :
Quad
cer u m co
Ia
rp
us
m edi ca
H i pp ol y tu m , S tyg i i s ct
A d S l yg i a s ip s e
r eci u m v
Si cp
q oq
Tu
u
Comp
A
tq
ue
Ad
Mom s t i
r
it
u
p
ru
e
e
gu z a
-
un d a s ;
t r t ifi ci
m co p or a R
a
.
r
r
ri
a
r
eta
r
,
a nn s
r v
ex t i nct i s r ed d er e
a u l l a ti
Ieg e p
.
ct
n
as
om a m
mo t i
m
a ra r c
ca di s
nos t r a
p osse
i n te
q
r
r
um
e
ue
ar s es t ,
a n i ma m
.
h oc t e
.
p te j u v en m
ce
ue , n os
qm m
ue
o
a v er ,
.
qm
a bol ev er a t ,
i te
ca
u
ue
i nv i di a m , i n d i g n a ta
l ong a (l i es p
p
o,
uu
S i c m i se l i eu , p ri mer
c
a
ce m f rr i g i
i q
e
d
ti q m j m e oc q d cus
er a m
a li s
o
’
Ep i d a u r i u s
m a r s fu i
ae
am , a n
su
q ad
M rt
p
t us
a r te,
i m i r e , Rap ha el , i ng en i o
Te d a d a m
Et
t
a
it
t
on s
'
'
i
r
r cv oca r
d u m tot e l a n i a ta
ue
U bi s l a
v
es t
sa n a v er i
s.
A PPEN D I X
.
A C A T A L O G U E O F T H E P R I N C IPA L PA I N T I NG S B Y R A PHA E L
.
C LA SS IFI E D A CCO RD I N G TO T H E I R S U BJE CTS
'
F RO M
I II A N S LA TE D
‘
BY J
Th e fi g u r es
.
D
A PP E ND IX T RA FAEL
P A SS A A T FOR MERLY D I RE C T OR
TH E
V
.
th e
at
O
beg i
-
N
f
n
o
ea
.
.
.
.
to
1
20 w e
r p int
e
a
ed
ch l i n sh ow th h
w r p i n ted
e
a
Ad )
t o 1 03
1 04 t o 2 48
m l og ica l
a nd
.
1 21
.
1 5 04,
e
,
a
,
a
e
e,
e
.
94
.
95
.
96
.
97
.
e
.
e
a
e
.
e,
e
e o
e,
e
e
.
1 10
.
o
.
e
eo
e
.
.
.
e
a
,
a
s
a
e
e
e
a
N,
e
e
e
,
,
e
a
e
B
N
N
a
e
e
a
"
.
"
.
e
o or us
o o us
a
a
.
.
e
a
a
.
e
e
.
a
a
e
a
TH
V
e
.
.
a
e
a
a
a
e
a
.
,
n
e
.
T HE PRO PHE T I S A I AH F r s co i n th C h u rch of S A gos ti no
V ISI O
E E KI EL P itti P l ac Fl or n c
.
e
.
a
.
D
.
a
orus
e
e
a
e
a
n a ura
e
e
e
e
N
a
e
a
.
e
e
e
.
.
a
a
e
e
a
e
,
an
,
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73
C H R IS T U P O T HE MOU T O F O L I E S ; i n M r Fu ll r M i tl d Coll cti on E ngl n d
17
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74
L IS T
SA I N TS
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S A T G EOR G E W I T H TH E SWORD L o uv r
SA I T G EOR G E AR ME D WI T H A L A C E H rm it ag S t P t rsb u rg
S A T J OH THE B AP T IS T Fl or n c G all ry
T HE A R C HA G EL MIC HAEL L o uv r
L ou v r
T E A R C HA G EL M IC HAEL L P ti t
T HE AR C HA G EL S M IC HAE L
R A P HAEL N a ti on l G a ll ry
C ORO A T I O E S A I T NIC HOLA S DE T OLE T O F orm rl y t C itt Ii C t l l o
D EL I ERA C E O F S T PE TER F r s c o i n t h C h amb r of H l i d
V tican
S A I T SE A S T A L o ch i Col l cti on B rgamo
T Y F r s c o t S nS v ro
C M
TE S A I T S S URROU D I G T HE H OLY T R I
SA T C A T HE R I E AL EX DR I A N a t i onal G all ry
S A I T C E CI L I A Bol ogna M u s u m
MAR T YRDO M O F S A I T C E C L I A F r s c o i n t h h p l of t h P o p s c o u n t ry h o u s
M RY MA G DALE
S A I T C A T HER I E C m i i Col l cti on Rom
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PA I N T I N G S B Y RA P H A E L
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.
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