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THE GREAT WORKS OF RAPHAEL. 
 
RAPHAEL D'URBINO AT FIFTEEN. 
 
 IN THE LOUVRE, PARIS. 
 
TU SOLO IL TIT TOR SEI T)E' TIT TORT 
 
 THE GREAT WORKS OF 
 
 RAPHAEL SANZIO OF URBINO; 
 
 
 A SERIES OF TWENTY PHOTOGRAPHS FROM THE BEST ENGRAVINGS 
 OF HIS MOST CELEBRATED PAINTINGS; 
 
 WITH DESCRIPTIONS, TRANSLATED FROM PASSAVANT'S " RAFAEL VON URBINO UND SEIN VATER :" 
 VASARI'S LIFE OF RAPHAEL, TRANSLATED BY MRS. JONATHAN FOSTER : AND 
 AN APPENDIX, CONTAINING A CLASSIFIED LIST OF THE 
 PRINCIPAL PAINTINGS OF THE ARTIST. 
 
 EDITED BY JOSEPH CUNDALL. 
 
 FOURTH EDITION. 
 
 LONDON: 
 
 BELL AND DALDY, YORK STREET, COVENT GARDEN. 
 
 CAMBRIDGE: DEIGHTON, BELL and CO. 
 
 1870. 
 
CHISWICK PRESS: PRINTED BV WHITTINGHAM AND WILKINS, 
 TOOKS COURT, CHANCERY LANE. 
 
PREFACE. 
 
 *^^i^lf^I^C^ HE world never tires of its best work. For more 
 than three centuries the paintings of Raphael have 
 been the admiration of mankind ; they have been 
 reproduced in every country and in every variety of 
 style, and they are ever welcome. The famous engravings from his 
 most celebrated works, by Raphael Morghen, Longhi, Desnoyers, 
 Garavagha, Miiller, Toschi, and other eminent men, dehghted 
 connoisseurs for many years, and are reckoned among the foremost 
 achievements of the engraver's art ; but now they have become very 
 rare, and can only be seen in the portfohos of the wealthy. Luckily 
 for all lovers of art a new aid has lately sprung up which offers the 
 present generation a wonderful advantage. The marvellous power 
 of Photography has rarely been more beautifully shown than in the 
 reproduction of these magnificent engravings. Line for line the 
 miniature copy reproduces the work of the original; and though 
 the grandeur and brilliancy of the first proofs cannot be obtained, a 
 
vi PREFA CE. 
 
 delicate and thoroughly accurate transcript is secured, which charms 
 and satisfies the eye. 
 
 The Editor has selected twenty of the most justly celebrated of 
 Raphael's works to form the illustrations of the present volume. To 
 the well-known Life of Raphael by Giorgio Vasari, (which is fully 
 annotated by the translator, Mrs. Foster,) he has added, from 
 Passavant's " Rafael von Urbino," further descriptions of those 
 pictures which are here represented ; and at the end of the volume 
 he has given, from the same authority, a complete list of the 
 authenticated works of the " divine artist." 
 
LIST OF PHOTOGRAPHS. 
 
 ^ Page 
 
 HE Maeriaqe of the VniGm (Lo Sposalizio). In the Brera, at 
 
 IVIilan. From the engraving by Longhi .... 4 
 
 2. The JVIadonna with the Goldfinch (del Cardellino). In the 
 Florence Gallery. From the engraving by Kaphael Mobghen 8 
 
 3. The Holy Family, with the Palm-Tbee. In the Bridge- 
 water Gallery. From the engraving by Maetinet . . . . . 11 
 
 4. Saint Catheeine of Alexandeia. In the National Gallery. From the engraving 
 
 by Desnoyebs ............ 14 
 
 5. The Madonna. La Belle Jardiniere, In the Louvre, at Paris. From the engraving 
 
 by Desnoyebs ............ 17 
 
 6. The School of Athens. In the Chamber of the " Segnatura " in the Vatican. From 
 
 the engraving by Volpato . . . . . . . ' . . 20 
 
 7. The Madonna della Casa d'Alba. Now in the Hermitage at St. Petorsburgh. From 
 
 the engraving by Desnoyebs ......... 23 
 
 8. The Madonna, Aldobrandini, (Lord GarvagJCs). Now in the National Gallery. 
 
 From the engraving by Bbidoux ......... 26 
 
 9. Galatea. A Fresco in the Farnesina Palace, at Eome. From the engraving by 
 
 RiCHOMME ............ 30 
 
 10. The Madon'na di Fuligno. In the Vatican, at Rome. From the engraving by Des- 
 
 noyebs ............. 32 
 
 11. The Madonna with the Diadem (au linge). In the Louvre, at Paris. From the 
 
 engraving by Desnoyebs .......... 35 
 
 12. Heliodobus dhiven feom the Temple. In the Chamber of " Heliodorus" in the 
 
 Vatican. From the engraving by Andeeloni ...... 38 
 
viii LIST OF PnOTOGRAPIIS. 
 
 Page 
 
 TuE Madonna del Pesce (au poisson). In the Escuriol, Madrid. From the engraving 
 
 by Desnoyers ............ 42 
 
 14. St. Cbcilia. In the .Museum at Bologna. From the engraving by Raphael 
 
 Massakd ............. 46 
 
 1.). Pope Leo X. with the Cardinals Guilio de Medici and Lodovico de Rossi. In 
 
 the Pitti Palace, Florence. From the engraving by Jesi . . . . 50 
 
 16. The Madonna deVa Sedia. In the Pitti Palace, Florence. From the engraving by 
 
 Garavaqlia ............ 54 
 
 17. Tnr. Madonna della Tenda. In the Pinacotiicca, at Munich. From the oiigraving by 
 
 ToscHi ............. 58 
 
 18. The Madonna di San Sisto (La Vierge de Saint-Svcte). In the Dresden Gallery. 
 
 From the engraving by Mcllek ......... G2 
 
 19. PoETEAiT OF A Lady (BEATRICE OF Ferraea ?). In the Tribune, at Florence. From 
 
 the engraving by Raphael Morqhen ........ 66 
 
 20. Raphael at Fifteen. In the Louvre, at Paris. From the engraving by F. Forster 
 
 Frontispiece 
 
 Photographed by the Permanent Printing Company, 9a, Hereford Square, S. W. 
 
LIFE OF THE FLORENTINE PAINTER AND 
 ARCHITECT, RAPHAEL SANZIO 
 OF URBINO. 
 
 ^^t^^^C^C^HE large and liberal hand wherewith Heaven is sometimes 
 pleased to accumulate the infinite riches of its treasures on 
 the head of one sole favourite, — showering on him all those 
 rare gifts and graces which are more commonly distributed 
 among a larger number of indi\dduals, and accorded at 
 long intervals of time only, — has been clearly exemplified in the well-known 
 instance of Raphael Sanzio of Urbino. 
 
 No less excellent than graceful, he was endowed by nature with all that 
 modesty and goodness which may occasionally be perceived in those few 
 favoured persons who enhance the gracious sweetness of a disposition more 
 than usually gentle, by the fair ornament of a winning amenity, always ready 
 to conciliate, and constantly giving evidence of the most refined consideration 
 for all persons and under every circumstance. The world received the gift of 
 this artist from the hand of nature when, vanquished by art in the person of 
 Michael Angelo, she deigned to be subjugated in that of Raphael, not by art 
 only but by goodness also. And of a truth, since the greater number of 
 artists had up to that period derived from nature a certain rudeness and 
 eccentricity which not only rendered them uncouth and fantastic, but often 
 
 B 
 
2 
 
 LIFE OF RAPHAEL. 
 
 caused the shadows and darkness of vice to be more conspicuous in their 
 lives than the light and splendour of those virtues by which man is rendered 
 immortal; so was there good cause wherefore she should, on the contrary, 
 make all the rarest qualities of the heart to shine resplendently in her 
 Raphael, perfecting them by so much diffidence, grace, application to study, 
 and excellence of life, that these alone would have sufficed to veil or 
 neutralize every fault, however important, and to efface all defects, however 
 glaring they might have been. Truly may we affirm that those who are the 
 possessors of endowments so rich and varied as were assembled in the person 
 of Raphael, arc scarcely to be called simple men only, they are rather, if it 
 be permitted so to speak, entitled to the appellation of mortal gods ; and 
 further are we authorized to declare, that he who by means of his works has 
 left an honoured name in the records of fame here below, may also hope to 
 enjo)' such rewards in heaven as are commensurate to and worthy of their 
 labours and merits. 
 
 Raphael was born at Urbino, a most renowned city of Italy, on Good 
 Friday' of the year 1483, at three o'clock of the night.' His father was a 
 certain Giovanni Sanzio, a painter of no great eminence in his art,^ but a 
 man of sufficient intelligence, nevertheless, and perfectly competent to direct 
 his children into that good way which had not for his misfortune been laid 
 open to himself m his younger days. And first, as he knew how important 
 it is that a child should be nourished by the milk of its own mother, and not 
 
 ' On the 28th of March, according to the Julian Calendar, hut by the Astronomical Tables, on 
 the 26th. — Longhena, Istoria, ^r. di liaffaello Sanzio del Sig. Quatremere de Quinaj. Milan, 1829. 
 
 - About nine in the evening at this season of the year, the Italians commencing the enumeration 
 of the hours at one hour after sunset. 
 
 ' As compared with his son, that is to say ; but on comparing tho works of Giovanni with those 
 (jf the masters his contemporaries, he will be seen to have been rather a good than a merely tolerable 
 painter. Paintings from his hand are still to be seen at Urbino, as well as in Fano, Pesaro, Montefiore, 
 Giadara, and Cagli, with some others in the Brera (Milan). See Passavant, Rafael von Urbino und 
 sein Voter Giovanni Santi. Leipzig, 1839, vol. i. Sec also the Appendi.x to that work. 
 
LIFE OF RAPHAEL. 
 
 3 
 
 by that of the hired nurse/ so he determined when his son Raphael (to 
 whom he gave that name at his baptism, as being one of good augury) was 
 born to him, that the mother of the child,'^ he having no other, as indeed he 
 never had more,^ should herself be the nurse of the child. Giovanni further 
 desired that in its tender years the boy should rather be brought up to the 
 habits of his own family, and beneath his paternal roof, than be sent where 
 he must acquire habits and manners less refined, and modes of thought less 
 commendable, in the houses of the peasantry, or other untaught persons.* 
 As the child became older, Giovanni began to instruct him in the first 
 principles of painting, perceiving that he was much inclined to that art and 
 finding him to be endowed with a most admirable genius ) few years had 
 passed therefore before Raphael, though still but a child, became a valuable 
 assistant to his father in the numerous works which the latter executed in 
 the state of Urbino."^ 
 
 At length this good and affectionate parent, knowing that his son would 
 
 ' The pertinence of this remark will be more obvious if we remember that, while in our own 
 country the practice of employing hired nurses is comparatively rare, and is usually confined to cases 
 of strict necessity, on the continent, but more especially in France, it is, on the contrary, the almost 
 invariable practice of matrons in all ranks to confide their infants to the care of the hireling. 
 
 - The mother of Raphael was Magia, daughter of Giovanni-Battista Ciarla ; she died in 1491, 
 when Giovanni Sanzio married Bcrnardina, daughter of the gold-worker, Pietro di Parte ; this woman 
 is said by some writers to have caused Raphael much vexation at a later period, and after his fetlier's 
 death ; by others she is affirmed, on the contrary, to have been at all times among his best friends. — 
 See Passavant, ut supra. See also Longhcna, Istoriu, Sfc. di Raffaello Sanzio, Sfc. 
 
 ^ When Raphael was born, Giovanni Sanzio had already one son, but this child died in 1485. 
 He had afterwards one, or, as some authors say, two daughters. 
 
 * We have numerous testimonies to the fact that Giovanni was a man of refined habits and highly 
 cultivated mind. See, among other writers, Pungileoni, Elogio Storico di Giovanni Sa»ti Pittore e 
 Poeta, &c. Urbino, 1822. 
 
 * Since Giovanni died in 1494, when Raphael was but eleven years old, the latter could not have 
 assisted his father in any but the most unimportant labours of their vocation, unless indeed we are to 
 suppose in him an instance of that precocity of genius which is exemplified in Mozart and some few 
 others, whose powers have been developed in their earliest youth, but who have for the most part 
 become exhausted before the attainment of more than half the common age of man. — Schorn. 
 
4 
 
 LIFE OF RAPHAEL. 
 
 acquire hut little of his art from himself, resolved to place him with Pietro 
 I'erugino,' who, according to what Giovanni had been told, was then 
 considered to hold the first place among the painters of the time. Where- 
 ibre, proceeding to Perugia for that purpose, and finding Pietro. to be absent 
 from the city, he occupied himself, to the end that he might await the return 
 of the master with the less inconvenience, in the execution of certain works 
 for the Church of San Francesco'' in that place. But when Pietro had 
 returned to Perugia, Giovanni, who was a person of very good manners and 
 pleasing deportment,* soon formed an amicable acquaintanceship with him, 
 and when the proper opportunity arrived, made known to him the desire he 
 had conceived, in the most suitable manner that he could devise. Thereupon 
 Pietro, who was also exceedingly courteous, as well as a lover of fine genius, 
 agreed to accept the care of Raphael; Giovanni then returned to Urbino; 
 and having taken the boy, though not without many tears from his mother, 
 who loved him tenderly, he conducted him to Perugia; when Pietro no 
 sooner beheld his manner of drawing, and observed the pleasing deportment 
 of the youth, than he conceived that opinion of him which was in due time so 
 amply confirmed by the results produced in the after life of Raphael.* 
 
 It is a well-known fact that while studying the manner of Pietro, Raphael 
 imitated it so exactly at all points, that his copies cannot be distuiguished 
 
 ' The best authorities affirm that Baphael received his first instructions from Luca Signorelli and 
 Timotco Viti, who were at that time in Urbino ; they add that he was placed with Porugino by tlie 
 caro of liis uncle Simonc Ciarla, and tliat of his guardian, Don Bartolommeo. 
 
 - It cannot now bo ascertained that there has ever been any work in Perugia by Giovanni Sanzio. 
 nor is tlie visit to Perugia here described authenticated by any known documents. 
 
 •' Many writers concur to prove tliat Giovanni Sanzio was, as wo liavo said, a man of gentle 
 disposition, refined habits, and pleasing manners; he was also a follower of the Muses, and composed 
 •' a work not without merit," observes an Italian commentator, "to the praise of the Count and Duke 
 of Urbino." Dr. Gaye has likewise made mention of a Chronicle in Rhj-me, by Giovanni Sanzio. See 
 the Kuntshlatt for 1836, No. 86. 
 
 * For this portion of Raphael's life, and for details respecting his fellow students, sec Passavant, 
 Rafael von Urbino, tie. lib. Iv. 
 
I 
 
 THE MARRIAGE OF THE VIRGIN. 
 
 IN THE BEERA, AT MILAN. 
 
 N this celebrated picture, generally known as Lo Sposalizio, St. Joseph, who 
 stands on the right hand, is placing the wedding-ring on the finger of the 
 Virgin, who is opposite him, while the priest holds their hands. The Virgin is attended 
 by five young women, and St. Joseph by five young men. The latter are former 
 suitors for the hand of Mary. The most handsome of them breaks his reed, which 
 would not bloom, upon his knee ; the second also breaks his reed, and the others raise 
 theirs in the air. In the background is a temple with sixteen sides, surrounded by a 
 colonnade. On the moulding of the arcade is written Raphael . vrbinas . mdiiii. 
 
 This pictiu-e was painted for the church of St. Francesco at Citta di Castello, where 
 it remained for nearly three centuries, until it was taken, in 1798, by General Lechi, 
 the commander of a French brigade. It afterwards passed into the hands of Count 
 Salazar, who left it to the Ospedale Maggiore at Milan. It is now in the Brera. — 
 Fassavant. 
 
LIFE OF RAPHAEL. 
 
 5 
 
 from the original works of the master/ nor can the difference between the 
 performances of Raphael and those of Pietro be discerned Avith any certainty. 
 This is proved clearly by certain figures still to be seen in Perugia, and which 
 the former executed in a picture painted in oil in the Church of San Fran- 
 cesco, for Madonna Maddalena degl' Oddi.^ The subject of this work is the 
 Assumption of the Virgin, and the figures here alluded to are those of Our 
 Lady and of the Saviour himself, who is in the act of crowning her ; beneath 
 them and around the tomb are the Apostles, who contemplate the celestial 
 glory, and at the foot of the painting, in a predella divided into three stories, 
 is the Virgin receiving the Annunciation from the Angel, the Adoration of 
 the Magi, and the Infant Christ in the Temple, with Simeon, who receives 
 the Divine Child into his arms. This painting is without doubt executed 
 with extraordinary diligence, and all who have not a thorough knowledge of 
 the manner of Pietro will assuredly take it to be a work of that master, 
 whereas it is most certainly by the hand of Raphael.'"' 
 
 After the completion of this picture, Pietro repaired for certain of his 
 occasions to Florence, when Raphael departed from Perugia and proceeded 
 with several of his friends to Citta di Castello, where he painted a picture, in 
 the same manner, for the Church of Sant' Agostino, with one representing the 
 crucified Saviour for that of San Domenico ; which last, if it were not for the 
 name of Raphael written upon it, would be supposed by every one to be a 
 work of Pietro Perugino.* For the church of San Francesco in the same city 
 
 1 Minute details respecting the earliest works of Raphael in Perugia will be found in Passavant, 
 ut supra. 
 
 - This picture was among those transported to Paris, but when restored to Italy was " not replaced 
 in Perugia, but taken possession of by Rome," observes a justly dissatisfied native of the former city. 
 ^ Now in the Vatican. 
 
 ■* The picture painted for Sant' Agostino represented the coronation of St. Nicholas of Tolentino, 
 who tramples the figure of Lucifer beneath his feet, while the Almighty Father is seen in the heavens 
 above. This work was lost amidst the disorders of the French domination, in the first years of the 
 present century. The Crucifix was formerly in the collection of Cardinal Fesch. 
 
6 
 
 LIFE OF RAPHAEL. 
 
 'f 
 
 he painted a small picture representing the espousals of Our Lady, and in this 
 work the progress of excellence may be distinctly traced in the manner of 
 Raphael, which is here much refined, and greatly surpasses that of Pietro.^ 
 In the painting here in question, there is a church drawn in perspective with 
 so much care that one cannot but feel amazed at the difficulty of the problem 
 which the artist has set himself to solve. 
 
 While Raphael was thus acquiring the greatest fame by the pursuit of this 
 manner, the painting of the library belonging to the Cathedral of Siena had 
 been entrusted by Pope Pius III.^ to Bernardino Pinturicchio, who was a 
 friend of Raphael's, and, knowing him to be an excellent designer, took the 
 latter with him to Siena. Here Raphael made Pinturicchio certain of the 
 designs and cartoons for that work f nor would the young artist have failed 
 to continue there, but for the reports which had reached him concerning 
 Leonardo da Vinci, of whose merits he heard many painters of Siena speak 
 in terms of the highest praise. They more especially celebrated the cartoon 
 which Leonardo had prepared in the Sala del Papa at Florence, for a most 
 beautiful group of horses which was to be executed for the Great Hall of 
 the Palace. They likewise mentioned another cartoon, representing nude 
 figures, and made by Michael Angelo Buonarroti, in competition with 
 Leonardo, whom he had on that occasion greatly surpassed. These dis- 
 courses awakened in Raphael so ardent a desire to behold the works tluis 
 commended, that, moved by the love he ever bore to excellence in art, 
 and setting aside all thought of his own interest or convenience, he at once 
 proceeded to Florence.* 
 
 ' This is the celcbi-ated picture of the " Sposalizio," now in the Brora. 
 
 - Then Cardinal Francesco Piccolomini, who afterwards became Pope Pius III. 
 
 ' it will be found that in the life of Pinturicchio, Vasari attributes to Raphael all the designs 
 and cartoons for this work. 
 
 * The first visit of liaphael to Florence took place in 1504, as we learn from a letter bearing 
 date 1st October in that year, from Giovanni, Duchess of Sora, sister of tlie Duke of Urbino, to Piero 
 Soderini, who was then Gonfalonicre of the Florentine Eepublic, which Eaphacl took with him, and 
 
LIFE OF RAPHAEL. 
 
 7 
 
 Arrived in that place, he found the city please him equally with the works 
 he had come to see, although the latter appeared to him divine ; he therefore 
 determined to remain there for some time, and soon formed a friendly intimacy 
 with several young painters, among whom were Ridolfo Ghirlandajo, Aristo- 
 tele San Gallo, and others. He was, indeed, much esteemed in that city, but 
 above all by Taddeo Taddei,^ who, being a great admirer of distinguished 
 talent, desired to have him always in his house and at his table. Thereupon 
 Raphael, who was kindliness itself, that he might not be surpassed in 
 generosity and courtesy, painted two pictures for Taddeo, Avherein there are 
 traces of his Jfirst manner, derived from Pietro, and also of that much better 
 one which he acquired at a later period by study, as will be related hereafter. 
 These pictures are still carefully preserved by the heirs of the above-named 
 Taddeo.^ Raphael also formed a close friendship with Lorenzo Nasi ; and 
 the latter, having taken a wife at that time, Raphael painted a picture for 
 him, wherein he represented Our Lady with the Infant Christ, to whom San 
 Giovanni, also a child, is joyously offering a bird, which is causing infinite 
 delight and gladness to both the children. Li the attitude of each there is a 
 childlike simplicity of the utmost loveliness : they are besides so admirably 
 coloured, and finished with so much care, that they seem more like living 
 beings than mere paintings. Equally good is the figure of the Madonna : it 
 has an air of singular grace and even divinity, while all the rest of the work — 
 the foreground, the surrounding landscape, and every other particular, are 
 
 wherein she calls the painter himself "a discreet and amiahle youth." The cartoons prepared by 
 Leonardo da Vinci and Michael Angelo, in competition with each other, were not completed till the 
 year 1506. See, for more minute details respecting this period of the life of Kaphael, Longhena, 
 Istoria delta Vita, (fee. Munich, 1824; Rehberg, Rafael Sanzio ; Platner and Bunsen, Beschreibung 
 der Stadt Rom ; Passavant, Puugileoni, and others. 
 
 ' ^\Tiat Yasari here relates must have taken place at a subsequent period, perhaps on the 
 occasion of Raphael's second, or, as some say, third visit, when he remained in Florence from 1506 to 
 1508, and may then have seen the Cartoons of Leonardo and Michael Angelo. 
 
 - They were both pictures of the Madonna, one is in the gallery of the Belvidere, at Vienna : the 
 other, which represents the whole of the Holy Family, is in the Bridgewater collection. 
 
 \ 
 
8 
 
 LIFE OF RAPUAEL. 
 
 exceedingly beautiful.' This picture was held in the highest estimation by 
 T^orenzo Xasi so long as he lived, not only because it was a memorial of 
 Raphael, who had been so much his friend, but on account of the dignity and 
 excellence of the whole composition : but on the 9th of August, in the year 
 1548, the work was destroyed by the sinking down of the hill of San Giorgio; 
 when the house of Lorenzo was overwhelmed by the fallen masses, together 
 with the beautiful and richly decorated dwelling of the heirs of Marco del 
 Nero, and many other buildings. It is true that the fragments of the picture 
 were found among the ruins of the house, and were put together in the best 
 manner that he could contrive, by Batista the son of Lorenzo, who was a 
 great lover of art. 
 
 After having completed these works, Raphael was himself compelled to 
 leave Florence and repair to Urbino, where his mother and Giovanni his 
 father having both died, his affairs were in much confusion.' While thus 
 abiding in Urbino, he painted two pictures of the Madonna for Guidobaldo of 
 Moutefeltro, who was then Captain-general of the Florentines ; these pictures 
 are both small, but are exceedingly beautiful examples of Raphael's second 
 manner; they are now in the possession of the most illustrious and most 
 excellent Guidobaldo, Duke of Urbino.^ For the same noble, the master 
 executed another small picture representing Christ praying in the garden, 
 with three of the Apostles, who are sleeping at some distance,* and which is 
 so beautifully painted that it could scarcely be either better or otherwise 
 
 ' Our readers will rcmcmlier that this is among the most adniirod works now adorning the 
 'i'ribune of the Florentine Gallery. 
 
 - For various details respecting this period of Kaphacl's life, see Passavant, Ra fael von Urbino 
 und sein Vater, <fec. 
 
 ■■' The authorities in this question are inclined to believe that one of these pictures is now in the 
 Imperial Gallery of St. Petersburg ; the other is said to be in England. Leclauchc suggests that 
 these may be the Madonnas engraved by Crozat. 
 
 ■* This work, which belongs to those executed in the early manner of the master, is now in Rome, 
 in the possession of the Prince Gabrielli. — Passavant. 
 
THE MADONNA WITH THE GOLDFINCH. 
 
 IN THK TRIBUNE OF THE UFPIZJ, AT FLORENCE. 
 
 HE Virgin, seated in a meadow, is holding a book in her left hand, and is 
 gazing with tenderness upon the little St. John, who offers a goldfinch to 
 the Infant Jesus ; the Holy Child is leaning against his mother's knees and evidently 
 wishing to caress the bird. 
 
 This picture was broken in 1547, when the house of Lorenzo Nasi, at Florence, 
 fell to the ground. It was afterwards restored. — Passavant. 
 
'« 
 
I 
 
LIFE OF RAPHAEL. 9 
 
 were it even in miniature. After having been long in the possession of 
 Francesco Maria, Duke of Urbino, this picture was presented by the most 
 illustrious lady, his consort, the Duchess Leonora, to the Venetians, Don 
 Paolo Giustiniano and Don Pietro Quirini, brothers of the Holy Hermitage 
 of Camaldoli, and was placed by them, like a relic or sacred thing, in the 
 apartments of the principal of that Hermitage, where it remains, honoured 
 both as a memorial of that illustrious lady and as being from the hand of 
 Raphael of Urbino. 
 
 Having completed these works and ari'anged his aflfairs, Raphael returned 
 to Perugia, where he painted a picture of Our Lady with San Giovanni 
 Battista and San Niccolo, for the Chapel of the Ansidei Family, in the 
 Church of the Servites : ' and at the Monastery of San Severo, a small 
 Convent of the Order of Camaldoli, in the same city, he painted a fresco for 
 the Chapel of Our Lady. The subject of this work is Christ in Glory, with 
 God the Father, surrounded by Angels, and six figures of Saints seated, 
 three on each side : San Benedetto, San Romualdo, and San Lorenzo, on the 
 one side namely: with San Girolamo, San Mauro, and San Placido, on the 
 other. Beneath this picture, which, for a work in fresco, was then considered 
 very beautiful, Raphael wrote his name in large and clearly legible letters.^ 
 In the same city Raphael was commissioned to paint a picture of Our Lady 
 by the nuns of Sant' Antonio of Padua; the Infant Christ is in the lap of 
 the Virgin and is fully clothed, as it pleased those simple and pious ladies 
 that he should be; on each side of Our Lady are figures of saints, San 
 Pietro namely, with San Paolo, Santa Cecilia, and Santa Catarini.^ To 
 
 ^ Now in the possession of the Duke of Marlborough at Blenheim ; it bears the date 1505 ; on 
 the Predella is the preaching of John the Baptist, but this part of the work is or was in tlie collection 
 of Lord Lansdowne. 
 
 ^ Having sufPered much injury, this fresco was restored some years since by the painter, Giuseppe 
 Carattoli. The upper part only was painted by Eaphael, the lowermost portion being the work of 
 Perugino. The inscription was not added until after Raphael's death. See Passavant. 
 
 ^ An Italian writer calls this figure St. Margaret; the German commentators, on the contrary, 
 
 C 
 
1(1 
 
 LIFE OF RAPHAEL. 
 
 these two holy virgins the master has given the most lovely features and 
 most graceful attitudes ; he has also adorned them with the most fanciful and 
 varied head-dresses that could be imagined — a very unusual thing at that 
 time. In a lunette above this picture he painted a figure of the Almighty 
 Father, which is extremely fine, and on the Predella are three scenes from 
 the history of Christ, in very small figures. The first of these represents the 
 Saviour praying in the garden ; in the second he is seen bearing the cross, 
 and here the movements and attitudes of certain soldiers who are dragging 
 him along, are singularly beautiful ; the third shows him lying dead in the 
 lap of the Madonna. ' The whole work is without doubt very admirable : it 
 is full of devout feeling, and is held in the utmost veneration by the nuns for 
 whom it was painted.^ It is very highly commended by all painters likewise. 
 
 But I will not omit to mention in this place, that after Raphael had been 
 to Florence, he is known to have much changed and improved his manner, 
 from having seen the many works by excellent masters to be found in that 
 city ; nay, the manner afterwards adopted by him was so little in common 
 with his earlier one, that the works executed in the latter might be supposed 
 to be by a different hand, and one much less excellent in the art. 
 
 Before Raphael had left Perugia, he had been requested by Madonna 
 Atalauta Baglioni to paint a picture for her chapel in the church of San 
 Francesco,^ but as he could not at that time comply with her wishes, he 
 l)romised that on his return from Florence, whither he was then obliged to 
 proceed for certain affairs, he would not fail to do so. While in Florence, 
 
 though equally declaring that it docs not represent St. Cecilia, consider it to be intended for St. 
 I^)8alie, but the garland of flowers which it bears, and which might seem to imply that this opinion is 
 well-founded, is in fact also worn of riglit by St. Cecilia, as it is by St. Dorothea, and, perhaps, by 
 other saints. This part of the painting is now at Naples, in the Museo Borboiiico. 
 
 ' This portion of the work is in England. — Passavant. 
 
 - But was sold by their successors in the convent for two thousand scudi. 
 
 ' " Vasari is mistaken," remarks Bottari, " the church is that of San Bernardino, and not San 
 Francesco." — Roman EkUtion of Vasari, 1759. 
 
THE HOLY FAMILY, WITH THE PALM TREE. 
 
 TN THK BRIDGEWATER fiALLERY. 
 
 HE Virgin, seated upon a bank beneath a palm tree, is holding on her knee the 
 Infant Jesus, whom she has encircled with the end of her veil. To the left, 
 St. -loseph is kneeling to present flowers to the child, who is receiving them with 
 an expression of exquisite sweetness. In the background is seen a valley planted 
 with trees. 
 
 This picture was bought from the collection of the Duke of Orleans by the Duke 
 of Bridgewater for £1200. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 11 
 
 therefore, where he devoted himself with indescribable energy and applica- 
 tion to the studies connected with his art, he prepared the cartoon for this 
 chapel, with the intention of proceeding to execute it in San Francesco on 
 the first opportunity that might present itself for doing so, — a work which 
 he afterwards accomplished. 
 
 While Raphael was thus sojourning in Florence, Agnolo Doni was dwelling 
 in that city ; now Agnolo was averse to spending money for other things, but 
 for paintings or sculptures, in which he greatly delighted, he would willingly 
 pay, although he still did so as frugally as was possible. By him, therefore, 
 Raphael was commissioned to paint a portrait of himself, as well as that of 
 his wife, and both were executed, as we now see them ; they are in the 
 possession of Agnolo's son, Giovanni Battista, in the house which Agnolo 
 built most handsomely and commodiously, at the corner of the Alberti, in 
 the street of the Dyers, in Florence.* 
 
 For Domenico Canigiani, Raphael also painted a picture, wherein he 
 represented the Madonna with the Infant Christ ; the Divine Child is caressing 
 the little San Giovanni, who is brought to him by Santa Elizabeth ; and the 
 latter, while holding the boy, looks with a most animated countenance at St. 
 Joseph, who stands leanmg with both hands on his staff; he bends his head 
 towards her with an expression of astonishment and of praise to God, whose 
 greatness had bestowed this young child on a mother already so far advanced 
 in years. All appear to be amazed at the manner in which the two cousins 
 treat each other at an age so tender, the one evincing his reverence for the 
 Saviour, the other affectionately caressing his companion. Every touch of 
 the pencil in the heads, hands, and feet of this work has produced such effect 
 that the parts seem rather to be of the living flesh than the mere colours of 
 the painter, however able a master of his art. This most noble picture is 
 
 ' They were sold by the descendants of Agnolo Doni to Leopold II. Grand Duke of Tuscany, 
 and now make part of the magnificent collection in the Pitti palace. They are engraved in Longhena. 
 See Passavant. 
 
12 
 
 LTFE OF RA PITA EL. 
 
 now ill the possession of the heirs of Doinenico Ciinigiana, by whom it is held 
 in all that esteem which is due to a work of Raphael of Urbino." 
 
 While ill the city of Florence this most excellent painter studied the 
 ancient works of ]\Iasaccio, and what he saw in the labours of Leonardo and 
 Michael Angelo caused him still more zealously to prosecute his studies; he 
 consequently attained to an extraordinary amelioration of manner, and made 
 still further progress in art. Among other artists, Raphael formed a close 
 intimacy with Fra Ijartolommeo di San Marco, during his abode in Florence, 
 the manner of that master pleasing him greatly, wherefore he took no small 
 pains to imitate his colouring, teaching that good father on his part the rules 
 of perspective, to which the monk had not previousl}^ given his attention. 
 
 But just when this intercourse was most frequent and intimate, Raphael 
 was recalled to Perugia ; here the first work which he performed was that in 
 the church of San Francesco, where he completed the painting promised to 
 the above-named Madonna Atalanta Baglioni, for which he had prepared the 
 cartoon in Florence, as we have said. In this most divine picture there is 
 a dead Christ, whom they are bearing to the sepulchre, the body painted 
 with so much care and freshness that it appears to have been only just com- 
 pleted. When occupied with the composition of this work, Raphael had 
 imagined to himself all the grief and pain with Avhich the nearest and most 
 affectionate relatives see borne to the tomb the corpse of one who has been 
 most dear to them, and on whom has, in truth, depended all the honour and 
 welfare of the entire family. Our Lady is seen to be sinking insensible, and 
 the heads of all the weeping figures are exceedingly graceful ; that of San 
 (liovanni more particularly, his hands are clasped together, and he bends his 
 head with an expression which cannot but move the hardest heart to com- 
 passion. Truly may wi; say that Avhoever shall consider the diligence and 
 
 ' This work is lielievcd by certain Italian writers to be at Home, in the possession of the Marchese 
 Rinuccini, but that picture is declared by other authorities to be a copy only, the original being, as they 
 affirm, in the Pinacotcca at Munich. See Passavant. See also Rumohr, Italienkche Forsdiungen, 
 vol. iii. j>. G5. 
 
LIFE OF RAPHAEL. 
 
 13 
 
 love, the art and grace exhibited in this work, has good reason to feel as- 
 tonishment, and it does indeed awaken admiration in all who behold it, not 
 only for the expression of the heads, but for the beauty of the draperies and 
 in short for the perfection of excellence which it displays in all its parts.' 
 
 When Raphael, having completed his work, had returned to Florence, he 
 received a commission from the Dei, Florentine citizens, to paint the altar- 
 piece for their chapel in the church of Santo Spirito : this painting the master 
 commenced and made considerable progress with the sketch for it,^ he likewise 
 prepared a picture at the same time which was afterwards sent to Siena, but 
 had first to be left with Ridolfo Ghirlandajo, on the departure of Raphael, to 
 the end that he might finish an azure vestment which was still wanting when 
 Raphael left Florence.^ And this last event happened from the circumstance 
 that Bramante of Urbino, being in the service of Pope Julius II., for some 
 little relationship that he had with Raphael and because they were of the 
 same place, had written to the latter, informing him that he had prevailed 
 Avith the Pope to entrust certain rooms which the Pontilf had caused to "be 
 built in the Vatican to his care, and that therein he might give evidence of 
 his ability. The proposal gratified Raphael, and he left his works in Florence 
 unfinished, the picture for the Dei family among the rest, but this last was in 
 such a state that Messer Baldassare da Pescia afterwards, on the death of 
 
 ' This justly celebrated work was purchased by Pope Paul V. for the Borgliese Gallery, where it 
 long remained. The tympan belonging- to this picture, representing God the Father, with uplifted 
 hands, is still in the Church of San Francesco, at Perugia. The Predella is in the Vatican. — 
 Passavant. 
 
 • This is the picture called the Madonna del BaldacJiino, now in the Pitti Palace, and still in 
 its unfinished state, although much restored : the work remained in Pescia until the end of the 
 seventeenth century, when it was purchased at a very high price by the Grand Duke Ferdinand. The 
 restoration was effected by G. A. Cassana. See Passavant, ut supra. 
 
 3 The picture sent to Siena is that called La Belle Jardiniere, purchased by Francis I. of France, 
 and now in the Louvre. For the conflicting opinions respecting the work painted by Ridolfo 
 Ghirlandajo, see Passavant, Waagen, Kuntswerke und K'untsler in Paris, and liuniohr, who agrees 
 with the latter in the belief that the Madonna of the Colonna Palace is that completed by Ridolfo 
 Ghirlandajo. Engraved by Desnoyers. 
 
 / 
 
11 
 
 LIFE OF RAPHAEL. 
 
 Rapliael that is to say, caused it to be placed in the chapter house of his 
 native city.' The master then proceeded to Rome, where he found, on his 
 arrival, that a large part of the rooms in the palace had already been painted, 
 or were in process of being painted, by different masters. In one of these 
 apartments, for example, there was an historical picture painted by Piero 
 della Francesca; Luca da Cortona^ had made considerable progress in the 
 painting of one side of another; Don Pietro della Gatta,^ abbot of San 
 Clemente in Arezzo, had also commenced certain works in the same place, 
 and Bramantino of Milan had painted numerous figures there, the greater 
 part of which were portraits from the life, which were considered to be 
 exceedingly beautiful.* On his arrival in Rome, Raphael was received with 
 much kindness by Pope Julius, and commenced a picture in the chamber of 
 the Segnatura, the subject of which is. Theologians engaged in the recon- 
 ciliation of Philosophy and Astrology with Theology.'* In this work are 
 depicted all the sages of the world, arranged in diflferent groups, and 
 occupied with various disputations. There are certain astrologers standing 
 apart who have made figures and characters of geomancy® and astrology, on 
 tablets which they send by beautiful angels to the evangelists, who explain 
 
 ' Pungilconi, Vita di Raffaello, affinns that Bramante was not related to Raphael, and was but 
 his fellow townsman and acquaintance ; other writers suggest that the introduction to Julius II. was 
 most probably effected by the young Duke of Urbino, Francesco Maria della Eoverc, to whom Raphael 
 had been known fiom childhood. 
 
 * Of this work, Vasari does not make mention in the life of Luca da Cortona (Luca Signorelli), 
 which precedes that of Rajjliacl. 
 
 Don Bartolomnu'o della Gntta, in whose life Vasari speaks only of works in the Sistine Chapel, 
 omitting all mention of those here alluded to. 
 
 ■* There is much confusion in this passage. Piero della Francesca and Bramantino having 
 painted in the Vatican under Pope Nicholas \. Bartolommeo della Gatfa and Luca Signorelli under 
 Sixtus IV. and only Penigino and Sodoma during the pontificate of Julius II. Sec Plainer and 
 Bunsen. Beschrcihunf/ der Stadt Horn. 
 
 * " The School of Athens." 
 
 " Geometrical and astronomical figures are here meant. Astronomy and astrology were identical, 
 as our readers will remember, when our author wrote, in the ideas of all but the learned. 
 
ST. CATHERINE OF ALEXANDRIA. 
 
 IN THE NATIONAL GALLERY. 
 
 T. CATHERINE is seen resting her right hand on her breast, and her left 
 arm on a wheel, the instrument of her martyrdom. Her face is raised, with 
 an expression of divine enthusiasm, towards a ray of light coming from heaven. 
 In the background is a river bordered with trees and houses. 
 
 This picture was formerly in the Aldobrandini Palace at Rome. It afterwards 
 became the property of Mr. Beckford, from whom it was purchased for the National 
 Gallery. — Passavant. 
 
I 
 
 ( 
 
 LIFE OF RAPHAEL. 15 
 
 them. ^ Among the figures in this painting is Diogenes with his cup ; he is 
 lying on the steps, an extremely well-imagined figure, wrapt in his own 
 thoughts, and much to be commended for the beauty of the form and cha- 
 racteristic negligence of the garments. There are likewise Aristotle and 
 Plato in this work, the one with the Timaeus, the other with the Ethics in 
 his hand ; around them is gathered in a circle a large school of philosophers. 
 The dignity of those astrologers and geometricians who are drawing various 
 figures and characters with the compasses on a tablet, is not to be described : 
 among these is the figure of a youth of most graceful beauty, who extends 
 his arms in admiration and inclines his head ; this is the portrait of Federigo, 
 second Duke of Mantua, who was at that time in Rome. There is also a 
 figure stooping to the ground and drawing lines with a pair of compasses 
 which he holds in his hands ; this is said to be the architect Bramante, and 
 is no less life-like than that of Federigo previously described, or than it 
 would be if it were indeed alive. Beside him is one whose back is turned 
 towards the spectator, and who holds a globe of the heavens in his hand : 
 this is the representation of Zoroaster; and near to this figure stands that 
 of Raphael himself, the master of this work, drawn by his own hand with 
 the aid of a mirror; a youthful head of exceedingly modest expression 
 wearing a black cap or baret, the whole aspect infinitely pleasing and 
 graceful.^ 
 
 ^ " Wh&i a medley !" exclaims one of the angry Italians, at this description, " he has coupled 
 the Evangelists ^vith Diogenes and Plato," and that our author is somewhat confused in his description 
 of this painting, cannot be denied ; he has mingled the personages of the Disputa with those of the 
 Scuola di Atene ; but his compatriots have fallen on him for the same with so little mercy, that we 
 may spare him any further reproaches, and the rather, as we have ample means for the rectification of 
 his mistakes in the numerous " biographies," " treatises," and dissertations in every form, on the 
 works of the Prince of Painters which abound in all languages. See Richardson, Treatise on Painting 
 and Sculpture, Amsterdam, 1728 ; Dupper, Life of RaffaelJo Sanzio, London, 1816 ; Bellori, 
 Descrizione delle Immayini depinte da Raffaello da Urbino, nel Palazzo Vaticano, <fec., Rome, 1672 • 
 Rehberg. Quatremere de Quincy. Platncr and Bunsen : Passavant, with many others. 
 
 - The figure of Raphael is in the angle of the picture and to the right of the spectator ; the 
 older man beside liim, and dressed in a similar manner, is his master, Pietro Perugino. 
 
LIFE OF RAPHAEL. 
 
 It would not be possible to describe the beauty aud nobility of character 
 which the master has imparted to the heads and figures of the Evangelists; 
 there is a certain air of meditative thought and attentive consideration on 
 the countenances, more especially of those who are writing, which is depicted 
 with the utmost truth. This may be more particularly remarked in a St. 
 Matthew, who is copying the characters from a tablet which an angel holds 
 before him,' these he is setting down in a book. Behind him is an old man^ 
 who has placed a paper on his knee, and in this he is inserting what St. 
 Matthew^ writes, as the latter makes his extracts from the tablet : intent on 
 his occupation, he remains in this inconvenient attitude, and seems to be 
 twisting his head and jaws as if to accompany the movements of his pen. 
 And to say nothing of all these well-considered minutiae, of which there are 
 nevertheless very many, the composition of the whole work displays so much 
 beauty of proportion and such perfection of arrangement in every part, that 
 the master did indeed give a notable example of his capabilities therein, and 
 clearly proved himself to be one who had resolved to retain the undisputed 
 possession of the field against all who handled the pencil ; furthermore the 
 artist adorned this work with fine perspective views of magnificent buildings 
 and with numerous figures, all finished in a manner so delicate and har- 
 monious, that the excellence of the work caused Pope Julius to have all the 
 stories of the other masters, whether old or new, destroyed at once, resolving 
 that Raphael alone should have the glory of seeing his works preferred to all 
 that had been done in paintings of that description up to his OAvn time.^ 
 
 ' " Another blunder," exclaims one of the Florentine critics ; but it is only the continuation of 
 timt llrcviou^ly noted, and for which our good Giorgio has already been sufficiently castigated. 
 
 ^ This figure has been usually called Enipedocles, but Passavant will have it to represent 
 Archytas. 
 
 ' Vasari here means to indicate the figure of Pythagoras, which is in the foremost group of the 
 •• School of Athens," and to the right of the spectator. 
 
 * The first picture painted by Eaphael in Rome was not the " School of Athens," according to 
 the authorities now considered of the greatest weight, but rather the Disputa, which A asari describes 
 OS executed at a later period. 
 
LA BELLE JAEDINIERE. 
 
 IN THE LOUVRE, PARIS. 
 
 HIS beautiful picture is thus named because the Virgin is sitting upon a bank 
 of stones in a meadow richly covered with plants and flowers. The Holy 
 Mother is gazing with unspeakable sweetness upon the Infant Jesus, who, leaning 
 against her knee, is smiling at her with a countenance full of love. St. John, kneeling 
 and leaning upon his cross, is watching his divine companion with tender admiration. 
 A winding river amid mountains, and a town in the distance, form the background. 
 
 It is beUeved that this picture was painted for a gentleman at Sienna, before 
 Raphael was called to Rome. It was afterwards purchased by Francis I. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 17 
 
 Above the painting by Raphael, here described, was a work by Giovanni 
 Antonio Sodoma, of Vercelli,^ and which ought to have been destroyed in 
 obedience to the commands of the Pope, but Raphael nevertheless determined 
 to retain the compartments as he found them, and to use the arabesques 
 which Giovanni Antonio had employed as decorations; there were besides 
 four circular divisions, and in each of these Raphael depicted a figure, 
 having relation to the picture which was immediately beneath it. In the 
 first of these circular compartments, which is above the picture wherein 
 the painter has delineated Philosophy, Astrology, Geometry, and Poetry, 
 forming a union with Theology, is a female figure representing Knowledge :^ 
 on each side of this figure, which is seated, is a statue of the goddess Cybele, 
 with the form of breast usually attributed by the ancients to Diana Poly- 
 mastes;^ the vestments are of four colours, to indicate the four elements; 
 from the head downwards they are flame colour, to intimate fire ; beneath 
 the girdle is the colour of the air ; from the lap to the knees is that of earth ; 
 and the remainder to the feet has the colour of water; these figures are 
 accompanied by very beautiful boys. 
 
 In another circle, that turned towards the window which looks upon the 
 Belvedere, is depicted Poetry, represented under the form of Polyhymnia; 
 she is crowned with laurel, in one hand she holds the antique lyre, and has 
 a book in the other, the limbs are crossed, and the face, which is of super- 
 human beauty, is turned upwards with the eyes raised to heaven. This 
 figure also is accompanied by two boys, who are full of life and spirit; these 
 children assist to form with her, as do those attending on the other figures, 
 a group of richly varied beauty ; and on this side Raphael afterwards painted 
 the Mount Parnassus over the above-mentioned window. 
 
 ' Vasari is here describing the decorations of the ceiling. 
 
 ^ Vasari has here returned to the " School of Athens," over which is the figure of Philosophy ; 
 over the " Disputation respecting the Sacrament," is that of Theology ; Poetry is placed over the 
 Parnassus ; and over the allegory of Jurisprudence is the figure of Justice. 
 
 * The all-sustaining Diana. 
 
 D 
 
18 
 
 LIFE OF RAPHAEL. 
 
 In the circle which is over the picture wherein the holy doctors are 
 reudiii<5 mass, is a figure of Theology, with books and other objects around 
 her, accompanied in like manner by the boys, which are no less beautiful 
 than those before referred to ; above the other window which looks towards 
 the court, is placed the figure of Justice, in the fourth circle namely; she 
 bears the balance in one hand and holds the sword raised aloft in the other ; 
 the boys are with her as with the previously cited figures, and are of supreme 
 beauty. On the wall beneath is represented the delivery of the civil and 
 canon law, as will be related m its due place. 
 
 In the angles of the ceiling Raphael likewise executed four historical 
 pictures, designed and coloured with extraordinary care, but the figures are 
 not of a large size : ' in one of these, that next the Theology, the master has 
 depicted the sin of Adam in eating the apple, and this he has executed in a 
 very graceful manner. In the second, which is above the Astrology, is the 
 figure of that Science ; she is assigning their due places to the planets and 
 fixed stars. In the one belonging to the Mount Parnassus is the figure of 
 Marsyas, fastened to a tree, and about to be flayed by Apollo ; and near the 
 picture which represents the promulgation of the Decretals, is the judgment 
 of Solomon, when he decides that the infant shall be divided between the 
 contending mothers. All these four delineations exhibit much thought and 
 feeling ; they are admirably drawn, and the colouring is pleasing and 
 graceful. 
 
 But having now finished the description of the vaulting or ceiling of that 
 apartment, it remains that we declare what was executed on each wall con- 
 secutively, and beneath the works indicated above. On the side towards 
 the Belvedere, where are the Mount Parnassus and the fountain of Helicon, 
 the master depicted a laurel grove of very deep shadows, and the verdure of 
 the foliage is so finely painted that the spectator almost fancies himself to 
 
 " Sec Passavant, Rafael von Urbino, wlicie minute details, such as cannot here find place, will 
 lie found respecting all these works. 
 
LIFE OF RAPHAEL. 
 
 19 
 
 perceive each separate leaf trembling in the gentle breeze : innumerable 
 figures of naked Loves, with inexpressibly beautiful countenances, are 
 hovering in the air, they are gathering branches of the laurel wherewith they 
 weave garlands, which they then throw down and scatter on the mount, 
 over which there does of a truth seem to be the spirit of the divinity 
 breathing, such is the beauty of the figures, and the noble and elevated 
 character of the whole picture, which awakens admiration and astonishment 
 in all who behold it, when they consider that the human mind and mortal 
 hand, with only the simple means of imperfect colours, and by the help of 
 excellent drawing, has made a picture which appears as if it were alive. 
 The figures of the Poets also, distributed over the mount, are all most truly 
 animated. Some are standing, others seated, some are writing, or speaking, 
 or singing, others are conversing together in groups of four or six, 
 accordingly as it has seemed good to the master to arrange them. In this 
 portion of the work there are portraits of the most renowned poets, ancient 
 and modern, including among the latter several who had lived or were living 
 at Raphael's own time : some of the older poets were taken from statues, 
 some from medals, many from old pictures ; and others, who had lived in his 
 own day, were taken from nature by Raphael himself. To begin with the 
 one end, we have here the portraits of Ovid, Virgil, Ennius, TibuUus, 
 Catullus, Propertius, and Homer : the last named, blind and with the head 
 elevated, is pouring forth his verses, while there is a youth seated at his feet 
 who writes them as he sings. There is also in one group Apollo^ with the 
 Nine Muses; and in all these figures there is so much beauty, their counte- 
 nances have an air of so much divinity, that grace and life seem to breathe 
 
 1 The viol which Kaphael has placed in the hands of Apollo would, beyond all doubt, be well 
 replaced by the lyre, but the painter is believed to have given the god the fii'st-named instrument, in 
 honour of the then admired improvisatore and viohnist, Giacomo Sansecondo, who had inspired 
 Eaphael himself with so great an admiration for the viol, that he considered it worthy to be placed in 
 the hands of the god of song. For a detailed explanation of the figures in this work, see Passavant, 
 ut supi-a. 
 
20 
 
 LIFE OF RAPHAEL. 
 
 from every feature. There is here portrayed the learned Sappho, and the 
 most divine Dante; the graceful Petrarch, and the gay Boccaccio, who are 
 all most truly animated and life-like. Tcbaldero' is also here, with many 
 other modern writers, who are grouped with infinite grace and painted with 
 extraordinary care. 
 
 On one of the other sides the master has depicted Heaven, with Christ 
 and the Virgin, San Giovanni Battista, the Apostles, the Evangelists, and the 
 Martyrs, all enthroned amid the clouds ; and above them is the figure of God 
 the Father, who sends forth his Holy Spirit over them all, but more parti- 
 cularly on a vast company of Saints, who are celebrating the mass below, and 
 some of whom are in disputation respecting the Host, which is on the altar. ^ 
 Among these are the four Doctors of the Church, who are surrounded by 
 numerous saints, San Domenico namely, with San Francesco, St. Thomas 
 Aquinas, SS. Bonaventura, Scotus, and Nicolaus of Lyra; Dante,'* Fra 
 Girolamo Savonarola of Ferrara, and all the Christian theologians are also 
 depicted, with a vast number of portraits from the life. In the air above are 
 four Children, who are holding open the four Gospels; these are figures 
 which it would not be possible for any painter to surpass, such is their grace 
 and perfection. The Saints are seated in a circle in the air, and not only does 
 the beauty of the colouring give them all the appearance of life, but the fore- 
 shortenings, and the gradual receding of the figures, are so judiciously 
 managed, that they could not appear otherwise if they were in relief ; the 
 draperies and vestments arc richly varied, and the folds are of infinite 
 
 ' Tliis figure is ficquently called Sannazzaro, but not on very good grounds. — Schomi. 
 
 " Theology is here symbolized, but the picture is most commonly called the " Dispute concerning 
 the Sacrament." Tt is said to be the first work performed by Raphael in the Vatican, or indeed 
 in liomc. 
 
 ' " It is not wthout good reason," observes an Italian commentator, " that Raphael has placed 
 Dante among the theologians as well as poets; and therein he may have followed the advice of 
 Ariosto, wliom he is known to have consulted in respect to the personages to be placed in his 
 
 IS. 
 
THE SCHOOL OF ATHENS. 
 
 IN THE CHAMBER OF THE " SEGNATURA/' IN THE VATICAN. 
 
 N the left, at the foot of the steps, is Pythagoras, surrounded by a group of his 
 pupils ; among whom is Archytas ; Anasagoras is standing ; Heraclitus is by 
 himself, and Democritus, surrounded by young men, is leaning against the base of a 
 column. There are in all thirteen persons, amongst whom the painter has placed 
 portraits of the Duke of Urbino and Frederick II. Prince of Mantua. Upon the steps 
 at the left hand are three sophists, near the group of Socrates and his listeners, 
 amongst whom is Alcibiades ; in all eleven figures. Plato and Aristotle occupy the 
 middle of the picture, with their disciples, amongst whom is Zeno, chief of the stoics ; 
 in all sixteen figures. Diogenes is seated on the steps by himself ; Aristippus, talking 
 with Epicurus, is passing by him. Amongst the six figures on the right side there are 
 two sceptic philosophers, Pyrrho and Arcesilaus ; and in the group at the foot, 
 composed of nine persons, is Euchd, or perhaps, Archimedes, in the figure of 
 Bramante, teaching mathematics to four young men. On the extreme right, at 
 the base of the picture, Ptolemteus and Zoroaster, representing geography and astro- 
 nomy, are conversing together, while Perugino and Raphael himself are listening. — 
 Passavant. 
 
LIFE OF RAPHAEL. 
 
 21 
 
 grace, the expression of the countenance moreover is celestial rather than 
 merely human. This is more particularly to be remarked in that of the 
 Saviour, which exhibits all the mildness and clemency of the divine nature 
 that could possibly be presented to the human eyes by a mere painting. 
 Raphael was indeed largely endowed with the power of imparting the 
 most exquisite expression to his faces, and the most graceful character 
 to the heads of his pictures: of this we have an instance in the Virgui, 
 who, with her hands crossed on her bosom, is regarding her divine Son, 
 whom she contemplates with an expression which implies her perfect 
 assurance that he will not refuse forgiveness. There is, moreover, a certain 
 dignity in the figures of this master with a characteristic propriety, which is 
 without doubt most beautiful ; to the holy Patriarchs he gives the reverence 
 of age, to the Apostles the earnest simplicity which is proper to their cha- 
 racter, and the faces of his Martyrs are radiant with the faith that is in them/ 
 But still more richly varied are the resources of art and genius which this 
 master has displayed in the holy Doctors, who are engaged in disputation, 
 and are distributed over the picture in groups of six, four, or two. Their 
 features give token of a certain eager curiosity, but also of the earnest desire 
 they feel to discover the precise truth of the matter in question : this is made 
 further manifest by the action of the hands and by various movements of the 
 person, they bend the ear with fixed attention, they knit the brow in thought, 
 and ofl"-?-- evidence, in their looks, of surprise, or other emotions, as the v-on- 
 tending propositions are presented ; each in his own peculiar manner, but all 
 with most appropriate as well as beautiful and varied expression. Distin- 
 guished from the rest are the four Doctors of the Church, who, being 
 
 1 Quatremere de Quincy remarks on these heads, that they are indeed full of truth, but of the 
 truth of portraiture, as was to be expected from the prevalence of ideas proper to the Florentine school, 
 which then influenced the manner of Eaphael : in succeeding works, a character of beauty which is 
 more ideal will be found to prevail. See Passavant also, who agrees with Ue Quincy in the opinions 
 here expressed. 
 
22 
 
 LIFE OF RAPHAEL. 
 
 illuminated by the Holy Spirit, resolve and explain, by the aid of the Holy 
 Scriptures, all the difficulties presented by the gospels, which the boys who 
 are hovering in the air hold before them. 
 
 On the third side of the apartment, that namely wherein is the other 
 window which looks upon the court, Raphael painted, on the one part, 
 Justinian, who is giving the laws to the Doctors,' for revisal, with figures of 
 Temperance, Fortitude, and Prudence above ; on the other, the Pope^ who 
 delivers the Decretals or canon laws ; and in this pontiff Raphael has depicted 
 the portrait of Pope Julius II. ; he has likewise executed portraits from the 
 life of Cardinal-vicar Giovanni de' Medici, who was afterwards Pope Leo X., 
 of Cardinal Antonio de' Monte, and the Cardinal Alessandro Farnese, who 
 ultimately became Pope Paul III., with those of many other personages.^ 
 
 The Pope was highly satisfied with all that was done ; and to the end that 
 the wood- work of the apartment should be worthy of the paintings, he caused 
 Fra Giovanni of Verona to be summoned from the convent of Monte Oliveto 
 di Chiusm-i, a monastery in the territory of Siena; Fra Giovanni was a 
 renowned master in works representing perspective views of buildings, formed 
 of woods inlaid ; and he not only prepared the wainscot around the room, but 
 also made veiy beautiful doors and seats, richly decorated in the perspective 
 ornaments for which he was famed, and which acquired for him very great 
 honour, with much favour from the Pope, who rewarded him very liberally. 
 
 It is indeed certain that in works of this kind there has never been a 
 more able master than Fra Giovanni, a fact to which we have testimony still 
 in his native city of Verona; this is presented by the Sacristy of Santa Maria- 
 in-Organo, which is most beautifully adorned with inlaid work representing 
 views in perspective." The choir of Monte Oliveto di Chiusuri afi'ords 
 
 ' To Trebonianus namely, who is accompanied by six otiier Doctors in the Law. — Schom. 
 - Pope Gregory IX. 3 Sec Passavant, vol. ii. p. 109. 
 
 ♦ Fra Giovanni was an arcliitect also. The Campanile of the above-mentioned church of Santn 
 Maria-in-Organo was built after his design. — ilassdli. 
 
THE MADONNA DELLA CASA D'ALBA. 
 
 « 
 
 IN THE HERMITAGE, AT ST. PETERSBURG. 
 
 ^^^^HE Virgin^ seated upon the ground amidst a beautiful landscape, is holding her 
 ^^^glji Divine Child upon her knee. In her left hand she has a book which lies upon 
 her lap. St. John, in adoration, is presenting a little cross to the Infant Jesus. 
 
 This painting formerly hung in the church at Nocera, in the Neapolitan states ; it 
 was afterwards bought by the Marchese del Carpio, Viceroy of Naples, and then passed 
 into the gallery of the Duke of Alba, at Madrid, where it remained until the beginning 
 of the present century, when, after changing hands several times, it was purchased for 
 the sum of £14,000 for the Emperor of Russia. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 23 
 
 another proof of his skill, as does that of San Benedetto di Siena : the Sacristy 
 of Monte Oliveto di Napoli was in like manner adorned by Fra Giovanni, 
 and in the same place is the Chapel of Paolo da Tolosa, which that master 
 also decorated in wood-work/ By all these labours he obtained much 
 honour from those of his order, by whom he was ever held in the highest 
 estimation until his death, which took place in 1537, when he had attained 
 the age of sixty-eight. Now of this master, as of a person who was truly 
 excellent and remarkable in his art, I have thought it well to make mention 
 thus far, for it appears to me that his talent has well merited so much, seeing 
 that we are indebted to it for the fine works that were afterwards executed 
 by many other masters, to whom Fra Giovanni laid open the way. 
 
 But to return to Raphael. His powers now became developed to the 
 utmost, and he received a commission from the Pope to paint a second room 
 in the Vatican ; that towards the great hall namely. At this time, also, our 
 artist, who had now acquired a very great name, depicted the portrait of 
 Pope Julius himself. This is an oil painting, of so much animation and so 
 true to the life, that the picture impresses on all beholders a sense of awe as 
 if it were indeed the living object; this portrait is now preserved in the 
 church of Santa Maria del Popolo,^ together with a very beautiful Madonna, 
 executed at the same time by the same master. In the last named picture, 
 which represents the Nativity of Christ, the Virgin is covering with a veil 
 her Divine Child ;^ the expression of whose countenance is of such wonderful 
 
 ^ These decorations in wood-work are said to have been destroyed in 1527, when Kome was 
 plundered, as our readers will remember ; an event which took place in the pontificate of Clement VII. 
 
 " Now in Florence in the Pitti Palace, where there is also a copy of the same work. There is a 
 replica, or duplicate, in the Tribune of the Uffizj, in the same city. That in our National Gallery 
 needs no mention here. For the many duplicates, and other copies, see Passavant, as before cited. 
 
 ^ Longhena mentions various pictures of the Virgin throwing a veil over or removing it fi'om the 
 Divine Child, but of this, which comprises the figure of St. Joseph, we do not find it possible to obtain 
 any information that is entirely satisfactory. The most probable conjecture is that it was the one 
 called the " Madonna di Loretto," and which has now disappeai'ed. See Landon, (Euvres de Raphael. 
 See also Passavant, as above cited, vol. ii. p. 126, 
 
■2i 
 
 LIFE OF RAPHAEL. 
 
 beauty, and his whole person so clearly demonstrates the divinity of his 
 origin, that all must perceive him to be truly the Son of God. Nor are the 
 attitude and countenance of the Madonna less beautiful, they exhibit the 
 perfection of grace with an expression of mingled piety and gladness. There 
 is also a St. Joseph standing with both his hands supported on a staff, and 
 contemplating the King and Queen of Heaven, with the adoration of a most 
 righteous old man. Both these pictures are exhibited to the people on all 
 occasions of solemn festival. 
 
 Raphael had at this time acquired much fame in Rome, but although he 
 had the graceful manner which was held by every one to be most beautiful, 
 and saw continually before his eyes the numerous antiquities to be found in 
 that city, and which he studied continually, he had, nevertheless, not yet 
 given his figures that grandeur and majesty which he always did impart to 
 them from that time forward. For it happened at the period to which we 
 now refer that Michael Angelo had made such clamours in the Sistine Chapel, 
 and given the Pope such alarms, that he was compelled to take flight, and 
 sought refuge in Florence. Whereupon Bramante, having the key of the 
 chapel, and being the friend of Raphaelj permitted him to see it, to the end 
 that he might understand Michael Angelo's modes of proceeding.' The sight 
 thus afforded to him caused Raphael instantly to paint anew the figure of the 
 prophet Isaiah, which he had executed in the Church of Sant' Agostino, above 
 the Sant' Anna of Andrea Sansovino, although he had entirely finished it; 
 and in this work he profited to so great an extent by what he had seen in 
 the works of Michael Angelo, that his manner was thereby inexpressibly 
 ameliorated and enlarged, receiving thenceforth an obvious increase of 
 majesty. 
 
 ' " That Raphael should secretly visit the works of Michael Angelo by the means here described," 
 observes an Italian writer, " is very unlikely, but the fact that there were many who would not have 
 .Hcrupled to do so, may have suggested the suspicion to Michael Angelo and his followers." It is, 
 besides, well known that the Sistine Chapel was thrown open to the public about the time when this 
 secret visit is said to have taken place. 
 
LIFE OF RAPHAEL. 
 
 25 
 
 But when Michael Angelo afterwards saw the work of Raphael, he 
 thought, as was the truth, that Bramante had committed the wrong to 
 himself of which we have here spoken, for the purpose of serving Raphael, 
 and enhancing the glory of that master's name.' 
 
 No long time after this, Agostino Chisi, a very rich merchant of Siena, 
 who was a great admirer of all distinguished men, gave Raphael a commis- 
 sion to paint a chapel. This he did because, some short time previously, the 
 master had produced a fresco of the most exquisite beauty, in a Loggia of 
 his palace, in the Trastevere, now called the Chisi ;^ the subject of this is 
 Galatea^ in a car on the sea drawn by two dolphins and surrounded by 
 Tritons and different marine deities.* Havino; made the cartoon for the 
 above-named chapel, which is at the entrance of the Church of Santa Maria 
 della Pace, on the right as one enters by the principal door, the master 
 executed it in fresco, in his new manner, which was somewhat grander and 
 more majestic than the earlier one. In this picture Raphael painted some of 
 the Prophets and Sibyls, before Michael Angelo had thrown open the chapel, 
 which he had nevertheless seen, as has been related;^ and of a truth, these 
 
 ' It is now the general opinion among good judges, that the manner of Raphael was rather 
 injured than ameliorated by whatever influence he may have permitted the works of Michael Angelo to 
 exercise over it. The " Isaiah," which is one of his feeblest works, was completed in 1512. It suflFered 
 considerable injury from an ignorant pretender, who afi^ected to clean it, in the reign of Paul IV., and 
 was afterwards retouched by Daniel of Voltena, who very probably rendered it still more feeble. 
 
 ^ The Chigi Palace is now the Farnesina. 
 
 ^ The " Galatea" was painted in 1514. 
 
 * The following passage will be found in a letter on the subject of ideal beauty in works of art, 
 from Papliacl to Baldassare Castiglione : — "With respect to the 'Galatea,' I should hold myself to be a 
 great master, if there were in it one half of the merits of which you write, but in your words I cannot 
 fail to perceive the partiality of your friendship for myself. To paint a figure truly beautiful, it might 
 be necessary that I should see many beautifid forms, with the fui'ther provision that you should yourself 
 be near, to select the best ; but seeing tliat good judges and beautiful women are scarce, I avail myself 
 of certain ideas which come into my mind. "VMiether I have in myself any portion of the excellence of 
 art, I know not, but I labour heartily to secure it." 
 
 •'' In the life of Michael Angelo, Vasari himself asserts that the Prophets and Sibyls were painted 
 
 E 
 
26 
 
 LIFE OF RAPHAEL. 
 
 figures are considered to be the best, and among so many beautiful the most 
 beautiful, seeing that in the women and children represented, there is the 
 very perfection of truth and animation; the colouring, moreover, is faultless.' 
 This work caused the master to be most highly extolled, both during his 
 life and after his death, being, as it was, the most remarkable and most 
 excellent one that Raphael ever executed. Raphael being earnestly 
 entreated by a chamberlain of Pope Julius 11.^ to paint the picture for the 
 high altar of the chapel of the Ara Ca»li, he therein depicted the ]\Iadonna, 
 reposing on the clouds of heaven, and with San Giovanni, San Francesco, and 
 San Girolajno,^ robed in the vestments of a cardinal, in a beautiful landscape 
 beneath. Tn this virgin there is the expression of a modesty and humility 
 truly worthy of the Mother of Christ : the Divine Child, in an attitude of 
 exquisite beauty, is playing with the mantle of Our Lady ; the form of San 
 Giovanni gives clear proof of the fasting to which his penitential discipline 
 has subjected him, while in the expression of his countenance one reads the 
 sincerity of his soul, together with a frank and cheerful serenity, proper 
 to those who, far removed from the influence of the world, look down on it 
 >vith contempt, and in their commerce with mankind, abhorring all duplicit}^, 
 devote themselves to the promulgation of truth. The head of San Girolamo 
 is raised, his eyes are fixed on the Virgin, whom he is regarding earnestly. 
 And in the eyes thus raised there are to be perceived all that learning and 
 wisdom which are made manifest in his writings.'' With a movement of both 
 
 Ijy Raphael after the Sistine Chapel had been publicly opened. Quatreniere de Quincy remarks of 
 Raphael, that '* so far from having imitated Michael Angelo in these figures, it might be supposed that 
 he had in fact designed to make manifest in his own production, what it is that the work of BuonaiToti 
 wants to be perfect. " 
 
 ' These admirable paintings of the Church called Delia Pace having suffered much fioni time, 
 were carefully restored some years since by Palmaroli.— il/cisse??j and Passavant. 
 
 • Sigismondo Conti of Fuligno, private secretary to Pope Julius, and a learned historian. 
 ' St. Jerome. 
 
 * Conti is said to have commanded this picture to be presented to the \ irgin, in gratitude for lai 
 inteii)Osition between himself ami a flash of lightning, or, as other accounts have it, a shell, wliicli had 
 
THE MADONNA ALDOBRANDINI. 
 
 IN THE NATIONAL GALLERY. 
 
 HE Virgin, seated upon a bench, is holding her mantle behind the Infant 
 Jesus, who leans against her breast, and oflfers a pink to St. John, who, 
 standing on the right, is stretching his left hand to take it, while he leans the 
 other, which holds his cross, upon the bench. The Virgin, whose head is surrounded 
 with a green cloth striped with gold, is caressing St. John, who wears a mantle of 
 goat-skin. 
 
 This picture was bought from the Aldobrandini Gallery, by Mr. Day, who after- 
 wards sold it to Lord Garvagh.- — Passavant. 
 
 This painting was purchased for the National Gallery in the year 1865, for the 
 sum of £9,000.— Ed. 
 
t 
 
 LIFE OF RAPHAEL. 27 
 
 the hands he is in the act of recommending the chamberlain to the protection 
 of Our Lady ; and the figure of that chamberlain in actual life is scarcely 
 more animated than the one here painted. Nor is there less of truth and 
 nature in the San Francesco; he is kneeling on the earth, with one arm 
 extended, and the head raised as he turns his gaze aloft, towards the 
 Madonna ; he is depicted with a glow of pious affection in his countenance, 
 every line of which is beaming with the holiest emotion. The features and 
 complexion show that the saint is consuming away in pious resignation, but 
 is receiving comfort and life from the most gentle and beautiful looks of the 
 Mother, as well as from the sovereign loveliness of the Divine Child.^ In the 
 centre of the picture and immediately beneath the Virgin, is a boy ; his head 
 is raised towards Our Lady, and he bears a tablet in his hands. It is not 
 possible to imagine anything more graceful or more beautiful than this child, 
 whether as regards the head or the rest of the person. There is besides a 
 landscape of singular beauty, and which is executed to the highest perfection 
 in every part. 
 
 Raphael then continued his work in the chambers of the Vatican, where 
 he depicted the Miracle of the Sacrament, or the Corporas of Bolsena, which- 
 ever it may be called. In this story, the Priest who is reading the Mass is 
 seen to have his face glowing with the shame which he felt, when, in con- 
 sequence of his own unbelief, he beheld the Host bleeding on the Corporas, 
 as a reproof for his want of faith; terrified at the looks of his hearers, he 
 has lost all self-possession, and is as a man beside himself; he has the aspect 
 of one utterly confounded, the dismay that has seized him is manifest in his 
 attitude, and the spectator almost perceives the trembling of his hands ; so 
 
 fallen near liis house at the siege of Fuligno. lu allusion to tbis circumstance, a fiery ball is seen 
 passing over the landscape. 
 
 1 This picture is called the Madonna of Fuligno, having been removed from the Church of the 
 Ara Coeli, to that city, at the request of a niece of Conti's, who was a nun at the convent of Sant 
 Anna, called Le Contesse. The work here in question was among those taken to Paris, where it was 
 transferred from panel to canvas: it is now in the Vatican, 
 
28 
 
 LIFE OF RAPHAEL. 
 
 wull arc the emotions inevitable from such u circumstance expressed in the 
 work.' Around the priest are many figures of varied character; some are 
 serving the Mass, others kneel, in beautiful attitudes, on a flight of steps, 
 and moved by the novelty of the occurrence, exhibit their astonishment and 
 emotion in divers gestures, some giving evidence of a desire to acknowledge 
 themselves guilty of error, and this is perceived in men as well as in women. 
 Among the latter is one at the lower part of the picture, seated on the earth 
 and holding a child in her arms ; she is listening while another relates the 
 circumstance that has just happened to the priest; full of wonder she turns 
 towards the speaker with a feminine grace and animation that is truly 
 characteristic and life-like." On the other side is the Pope, Julius II., who 
 is hearing the Mass, an admirable part of the work, and here Raphael has 
 depicted the portrait of the Cardinal di San Giorgio,^ with a vast number of 
 other personages, also from the life. The break caused by the window was 
 turned to account by the master, who having there represented an ascent in 
 the form of a flight of stairs, thus makes the paintings on each side into one 
 sole picture, nay, he has even made it appear that if this opening caused by 
 the window had not been there, the scene could not have been so well 
 arranged. It may indeed with truth be said of Raphael here, as elsewhere, 
 that as respects invention and the graces of composition, whatever the story 
 may be, no artist has ever shown more skill, more readiness of resource, or 
 a more admirable judgment than himself; a fact of Avhicli he has given 
 further proof in this same place, where in the (opposite picture he has 
 represented San Pietro thrown into a prison b}- llerod,^ and guarded by 
 
 ' This miracle is said to have taken place in tlie year 1204, ami uiuler tiie poutificate of l ihaii 
 l \ . who instituted the festival of the Corpus Domini in consequence thereof. — Bottari. The festival 
 .so called was nevertheless not universally celebrated until fifty years later. — Ed. Flor. 1832-8. 
 
 ■-■ The Miracle of Bolsena" was painted in 1512. — Ed. Flor. 1832-8. 
 
 ■ Ilatfai'ilo Kiario, who made himself consj)icuous by his hatred to the House of Medici, against 
 wliich he twice organized a conspiracy. — Schorn. 
 
 ' Called '• La Scarcerazione di San Pietro." — Note to the Oerman Edition of Vasari. 
 
LIFE OF RAPHAEL. 
 
 29 
 
 soldiers. The architectural details here depicted and the simple delineation 
 of the prison, are treated with so much ingenuity that the works of other 
 artists, when compared with those of Raphael, seem to exhibit as much of 
 confusion as do that master's of grace and beauty. Raphael constantly 
 endeavoured to represent the circumstances which he depicted as they 
 are described or written, and to assemble only the most appropriate and 
 characteristic objects in his works, as for example in the picture before us, 
 where he reveals to us the wretchedness of the prison. Bound with chains 
 that aged man is seen extended between two soldiers ; the deep and heavy 
 sleep of the guards is rendered fully manifest, as the resplendent light 
 proceeding from the Angel illumines the darkness of night, and causes the 
 most mmute particulars of the prison to be clearly discerned ; the arms of 
 the sleepers shine so brilliantly, that their burnished lustre seems rather to 
 belong to things real and palpable, than to the merely painted surface of a 
 picture. 
 
 No less remarkable are the art and mgenuity displayed in another part of 
 the same picture; that namely where, freed from his chains, the Apostle 
 walks forth from his prison, accompanied by the Angel. In the countenance 
 of St. Peter there is evidence that he is a man who feels himself to be acting 
 in a dream, and not as one awake. Equally well expressed are the terror 
 and dismay of those among the guards, who, being outside the prison, hear 
 the clang of the iron door ; a sentinel with a torch in his hand, awakens his 
 sleeping companions ; the light he holds is reflected from their armour, and 
 all that lies Avithin the place which the torch has not reached, is lighted by 
 the Moon. This admirably conceived picture Raphael has placed over the 
 window, at the darkest part of the room; it thus happens that Avhen the 
 spectator regards the painting, the light of day strikes on his eyes and the 
 beams of the natural light mingle and contend with the different lights of 
 the night as seen in the picture, the observer fancies himself really to behold 
 the smoke of the torch, and the splendour of the Angel, all Avhich, with the 
 
30 
 
 LIFE OF RAPUAEL. 
 
 dark shadows of the night, are so natural and so true, that no one would 
 ever affirm it to be painted, but must believe it to be real, so powerfully has 
 our artist rendered this most difficult subject.^ The play of the shadows on 
 the arms, the flickering reflections of the light, the vaporous haloes thrown 
 around the torches, the dim uncertain shade prevailing in certain parts ; all 
 are painted in such a manner, that contemplating this work one cannot but 
 declare Raphael to be indeed the master of all masters. Never has painting 
 which purports to counterfeit the night been more truly similar to the reality 
 than is this, which is of a truth a most divine work, and is indeed admitted 
 by common consent to be the most extraordinary and most beautiful of its 
 kind. 
 
 On one of the unbroken walls of the chamber, Raphael then depicted the 
 worship of God as practised among the Hebrews, with the Ark and golden 
 Candlesticks; here also is the figure of Pope Julius, who is driving the 
 avaricious intruders from the Temple.^ In this work, which is of similar 
 ])eauty and excellence to the night-piece described above, several portraits of 
 persons then living are preserved to us in the persons of the bearers^ who 
 support the chair wherein Pope Julius is borne along; the figure of the 
 Pontiff" is most life-like. While the populace, among whom are many 
 women, make way for his Holiness to pass, they give to view the furious 
 approach of an armed man on horseback ; he is accompanied by two others 
 
 ' This is one of the earliest night-pieces painted hy the Italian artists, and its masterly treatment 
 lias secured the author the lasting admiration of the world. It was the first painted after the 
 accession of Leo X. and doubtless refers to his remarkable liberation from the French after the battle 
 of Ravenna. It was finished in 1514. See Passavant, vol. i. p. 198, vol. ii. p. IGO. 
 
 • On this picture, wiiich represents the miraculous expulsion of Ileliodoins from the Temple, 
 (riulio Komano is said to have worked to a considerable e.xtent. It was completed in 1512, con- 
 sequently before that previously so much extolled by Vasari. — Ed. Flor. 1832-8. 
 
 ^ The foremost of these bearers is the portrait of the copper-plate engraver. Marc Antonio 
 Kaimondi : his opposite companion is said to be that of Giulio Komano. Bchinil the Pope, stands the 
 Secretary of Memorials, who holds a paper in his hand, with the inscription, lo Petro de Falcariis 
 'ctnotifTis. — Botturi. See also Fassavant, vol. i. [>. 194, vol. ii. p. 156. 
 
GALATEA. 
 
 IN THE FARNESINA PALACE, AT ROME. 
 
 ALATEA, floating upon the sea, is standing with reins in her hands in a large 
 ', shell drawn by two dolphins, which are guided by a Cupid. A Triton, 
 swimming on the left hand, is trying to embrace a nymph, who is riding on his back. 
 Behind him is a sea-horse, ridden by a young man, who is blowing a concha. On the 
 right, in the backgroimd, is another nymph, seated on a Triton. A third Triton, 
 in front, is sounding a trumpet. Three Cupids in the air ai'e shooting arrows, 
 and a fourth, half hidden by the clouds, is preparing his bow. 
 
 This fresco is still in an excellent state of preservation, in the gallery of the house 
 of Agostino Chigi, now caUed the Farnesina palace, where it was undoubtedly painted 
 by Raphael himseli.—Passavant. 
 
LIFE OF RAPHAEL. 
 
 31 
 
 who are on foot, and together they smite and overthrow the haughty 
 Heliodorus, who, by the command of Antiochus, is about to despoil the 
 Temple of all the treasures deposited for the widows and orphans.' The 
 wares and treasures are already in process of being borne away, but the 
 terror awakened by the new occurrence of Heliodorus, struck down and 
 scourged by the three figures above-mentioned, Avho are seen and heard by 
 himself alone, being only a vision, causes those who are bearing the spoils 
 away to let all drop from their hands, while they themselves fall stumbling 
 over each other, possessed as they are by a sudden affright and horror which 
 had fallen on all the followers of Heliodorus. Apart from these stands the 
 High Priest, Onias, in his pontifical robes, his hands and eyes are raised to 
 heaven, and he is praying most fervently, being moved to compassion for the 
 poor, whom he has beheld on the point of being despoiled of their possessions, 
 but is yet rejoiced at the succour which he feels that Heaven has sent to 
 them. With felicitous invention Raphael has placed various figures about 
 the diflferent parts of the buildings, some of whom climb on the socles of the 
 columns, and clasping the shaft, thus stand, maintaining themselves with 
 difficulty in their inconvenient position, to obtain a better view of the scene 
 passing before them; the mass of the people meanwhile, astounded at what 
 they behold, remain in divers attitudes awaiting the result of the wondrous 
 event. 
 
 The whole of this work was so admirably executed in every part that 
 even the Cartoons were very highly estimated. Messer Francesco Masini,^ a 
 gentleman of Cesena, who, without any master, but impelled from childhood 
 by the love of art, has produced many paintings and works in design, has 
 certain pieces of the Cartoon which Raphael prepared for this story of 
 Heliodorus still in his possession; they are treasured, with all the esteem 
 
 ' See the second book of Maccabees, chap. iii. 
 
 - The Roman Edition has Massini, as the Cremonese family still write the name. The 
 fi'ixgnieuts here alluded to are still in their possession. 
 
32 
 
 LIFE OF RAPHAEL. 
 
 which they so truly merit, among the various antiquities in marble, relievi 
 and others, which he has collected ; his own pictures and designs are also 
 of such merit, that many, well acquainted with art, have bestowed on them 
 the highest commendations. Nor will I omit to mention that Messer Nicol6 
 Massini, from whom it is that I have received intelligence of these things, is 
 himself a sincere lover of our arts, as he is the friend of all other good and 
 praiseworthy endeavours. 
 
 But to return to Raphael. In the ceiling above these works he deli- 
 neated four pictures : the subject of the first being the appearance of the 
 Almighty Father to Abraham, to whom he promises the continuation of his 
 race; that of the second, the sacrifice of Isaac; and of the third, Jacob's 
 dream ; while the fourth represents Moses standing before the burning bush. 
 In this work, the knowledge of art, rich power of invention, correct design, 
 and exquisite grace which distinguish our artist, are no less manifest than in 
 the others whereof we have made mention. 
 
 And now, when the happy genius of the master was effecting such 
 wonders, the envy of fortune deprived of life that pontiff who was the especial 
 protector and support of such talent, while he was the zealous promoter of 
 every other good and useful work. Julius II. died,^ but was succeeded by 
 Leo X. Avho forthwith commanded that the labours commenced should be 
 continued. The genius of Raphael was now exalted to heaven, and he 
 received innumerable proofs of favour from the new pontiff, fortunate in 
 having encountered a prince so great, and one on whom the love of art had 
 devolved by hereditary descent.^ 
 
 Thus encouraged, Raphael devoted himself with all his heart to the work, 
 and on another wall of the same apartment he represented the approach of 
 Attila towards Rome, and his encounter with Pope Leo III. by whom he is 
 
 ' On the 13th Fcbi-uary, 1513. 
 
 - For the sennces to art pci-formcd by Julius II. and Leo X. and for the connection of Raphael 
 with both these Pontiffs, see Passavant, as above cited, vol i. p. 205, et seq. 
 
THE MADONNA DI FULIGNO. 
 
 IN THE VATICAN, AT ROME. 
 
 HE Virgin, seated in a golden glory upon the clouds, is surrounded by a vast 
 number of angels lightly painted upon the azure blue of heaven. The Holy 
 Mother is holding the Infant Christ by the left hand, and both are looking down upon 
 the donor of the picture, Sigismondi Conti, who, kneeling in adoration, is directed by 
 St. Jerome. On the left stands St. John the Baptist, and before him is St. Francis, 
 kneeling, in ecstasy. A little angel, standing between the two groups, bears a tablet, 
 on which was formerly inscribed the name of the donor. 
 
 For more than two centuries this picture hung as an altar-piece in the Church of 
 St. Anne at Fuligno. It was taken by the French to Paris, and there transferred to 
 canvas and restored. After the treaty of peace in 1815, the picture was returned to 
 Italy, not to the Church at Fuligno^ but to the Vatican, where it now is. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 33 
 
 met at the foot of Monte Mario, and who repulses him by the power of his 
 word alone. In this picture, Raphael has shown San Pietro and San Paolo 
 appearing in the air with swords in their hands, with which they come to 
 defend the church. It is true that the history of Leo III. says nothing 
 of such an occurrence, but so Raphael has chosen to represent it, perhaps 
 as a mere fancy; for we know that painters and poets frequently permit 
 themselves a certain degree of freedom for the more effectual decoration 
 of their works, and this they may do without any undue departure from the 
 propriety of the original thought. In the two apostles thus depicted, there 
 is all that holy zeal and dignity which the Divine Justice frequently imparts 
 to the countenances of those among God's servants, whom it has com- 
 missioned to become the defenders of the most holy faith. The effect 
 of this expression on Attila is manifest in his face. He is riding on a 
 fiery black horse, having a star on the forehead, and beautiful as it is 
 possible that a horse could be; the attitude of the animal also betrays the 
 utmost terror, its head is thrown aloft, and the body is turning in the act of 
 flight.' 
 
 There are other magnificent horses in the same work, among them a 
 Spanish jennet, ridden by a figure which has all the parts usually left nude 
 covered with scales in the manner of a fish ; this is copied from the column 
 of Trajan, the figures of the people around that column being armed in this 
 fashion; such defences being made, as is conjectured, from the skins of 
 crocodiles. Monte Mario is seen burning, as an intimation that on the 
 departure of soldiery, the dwellings are constantly given as a prey to the 
 flames. Certain mace-bearers belonging to the papal retinue are painted 
 with extraordinary animation, as are the horses which they are riding : the 
 same may be said of the court of Cardinals, and of the grooms who bear the 
 
 ' The numerous errors into which Vasari has here fallen, are in part attributable to the Florentine 
 historian Villani (see lib. ii. cap. 3). The meeting with Attila took place on the river Mincio, near 
 Mantua, and the Pontiff was not Leo III. but Leo the Great, the first of the name. 
 
 F 
 
34 
 
 LIFE OF RAPHAEL. 
 
 canopy over the head of the pontiff.' The latter, Pope Leo X. is on horse- 
 back, in full pontificals, and is no less truthfully portrayed than are the 
 fiojures before-mentioned. He is followed bv numerous courtiers, the whole 
 scene presenting an extremely beautiful spectacle, in which all is finely 
 appropriate to its place, and these details are exceedingly useful to those 
 who practise our art, more particularly to such as are unprovided with the 
 objects here represented. 
 
 About the same time a picture was executed by Raphael for Xaples, 
 and this was placed in the church of San Domenico, and in that chapel 
 wherein is the crucifix which spoke to St. Thomas Aquinas. In this work, 
 Raphael depicted Our Lady, San Girolamo, clothed in the vestments of a 
 cardinal, and the angel Raphael, who is serving as the guide of the youthful 
 Tobias.^ For Leonello da Carpi, Lord of Meldola, who is still living, and 
 has attained the age of more than ninety years, he painted a picture, the 
 colouring of which is most admirable, and the beauty of the whole work very 
 remarkable ; it is indeed executed with so much force, and in a manner so 
 exquisitely graceful withal, that T do not think the art could possibly 
 produce or exhibit a finer work. There is a divinity in the countenance of 
 Our Lady, and a modest humility in her attitude, than which it would not be 
 possible to conceive anything more beautiful. The master has depicted her 
 with folded hands, in adoration of the Divine Child, who is seated on her lap, 
 und is caressing a little St. John; the latter is also adoring the Redeemer: 
 the figures of St. Joseph and St. Elizabeth complete the group. This 
 
 ' The choice of subject in this picture is sometimes said to have been intended as an allusion to 
 the expulsion of the Frencii from Italy, .ind the figure of Attila has been called a portrait of Louis XII. 
 King of France, but these assertions do not appear to be well founded. See Passavant. 
 
 * This is the picture known as the Madonna del Pesce (of the Fish), and is now in the Escurial. 
 The chapol in which it was originally placed was one inufli resorted to by persons afflicted with diseases 
 of the eyes ; Tobia.s, with his fish, is therefore highly appropriate. St. Jerome, who holds a book in 
 his hand, is also much in his jilace on this occasion, a.-* being the translator of the book of Tobit. This 
 is one of the works token to Paris, where it was transferred from the panel to canvas ; it is entirely by 
 llaphael himself, and is considered to bo one of his best works. 
 
THE MADONNA WITH THE DIADEM. 
 
 IN THE LOUVRK, AT PARIS. 
 
 ^^^^HE Virgin^ her head adorned with a blue diadem, is crouching before the Infant 
 ^^^^ Jesus, who is lying asleep on some drapery spread upon the ground. She 
 raises the veil which covers him to show him to the little St. John, who is kneeling 
 beside her with his little reed cross in his hands. In the mid-distance is a ruin 
 peopled with figm-es, and beyond, a town. This picture is often called " Le Sommeil 
 de Jesus." 
 
 There is a remarkable story told concerning this picture. It is said that, divided 
 in halves, it formed the covering of two casks in a cellar at Pescia, where it was found 
 by an amateur, who had it restored by such a skilful artist that no trace of the joining 
 can now be seen. It is one of the gems of the Louvre. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 35 
 
 picture was formerly in the possession of the most reverend Cardinal di 
 Carpi,' son of the above-named Signor Leonello, a very zealous admirer of 
 our arts ; it must now be in that of his heirs.^ 
 
 When Lorenzo Pucci, Cardinal of Santi Quattro, was created High 
 Penitentiary, he caused Raphael, who was in great favour with him, to paint 
 a picture for San Giovanni-in-Monte, at Bologna. This is now placed in 
 that chapel wherein are deposited the relics of the Beata Elena dall' Olio,^ 
 and serves to show what grace united with art could effect, when acting by 
 the most accomplished and most delicate hand of Raphael. The subject of 
 the work is Santa Cecilia,* listening in ecstasy to the songs of the angelic 
 choir, as their voices reach her ear from heaven itself: wholly given up to 
 the celestial harmony, the countenance of the saint affords full evidence 
 of her abstraction from the things of this earth, and wears that rapt 
 expression which is wont to be seen on the faces of those who are in 
 ecstasy.^ Musical instruments lie scattered around her, and these do not 
 seem to be merely painted, but might be taken for the real objects repre- 
 sented.* The same thing may be affirmed of the veil and vestments, formed 
 
 ' The Cardinal Eidolfo Pio da Carpi, a great protector of learned men, and the possessor of the 
 celebrated Medicean Virgil. He died in 1564. — Bottari. 
 
 • Passavant considers this picture to be that in the Museo Borbonico, at Naples, but equally 
 important authorities declare the Madonna of the Borbonico to be a fine copy, by Giulio Romano, or at 
 best, but a replica of the original, which they affirm to have been taken to Paris, whence, after having 
 adorned the gallery at Malmaison, it was transferred to St. Petersburgh. 
 
 ^ Elena Duglioli dall' Olio, who was inspired to build the chapel to St. Cecilia, which is that here 
 alluded to, was a noble lady of Bologna, and kinswoman to the Cardinal of Santi Quattro, who under- 
 took to erect the same. Elena was afterwards declared a Beata. 
 
 * This picture is the celebrated St. Cecilia, now in the gallery of the Academy at Bologna. 
 
 ^ The visitor of Italian galleries and churches will remember many an eloquent exposition of what 
 is here meant, in the pictures of Santa Theresa, St. Francis, and others. To the Protestant Church 
 the exhibition of " Saints in ecstasy" is not yet become matter of frequent occurrence, nor is there 
 now perhaps any very high probability of its doing so. 
 
 " These instruments are said to have been painted by Giovanni da Udine, as is remarked by 
 Vasari himself in another place. — Ed. Flor. 1832-8. 
 
86 
 
 LIFE OF RAPHAEL. 
 
 of cloth of gold iiud silver, with which S:inta Cecilia is clothed, and beneath 
 which is a garment of hair-cloth, also most admirably painted. In the figure 
 of St. Paul likewise, the power and thought of the master are equally 
 obvious : the saint is resting his right arm on his naked sword, the head is 
 supported by the left hand, and the pride of his aspect has changed to a 
 dignified gravity ; the vestments of St. Paul consist of a simple cloth mantle, 
 the colour of which is red, with a green tunic beneath, after the mamier of 
 the apostles; his feet are bare. St. Mary Magdalen also forms part of the 
 group, and holds a vase, made of a very fine marble, in her hand. The 
 attitude of this figure is singularly graceful, as is the turn of her head; she 
 seems to rejoice in her conversion, and I do not think it would be possible 
 that any work of the kind could be more perfectly executed. The heads of 
 St. Augustine and of St. John the Evangelist, which are both in this picture, 
 are of equal excellence. It may indeed with truth be declared that the 
 paintings of other masters are properly to be called pahitings, but those of 
 Raphael may well be designated the life itself, for the flesh trembles, the 
 breathing is made obvious to sight, the pulses in his figures are beating, and 
 life is in its utmost animation through all his works. 
 
 This picture secured the author many commendations and a great 
 increase of fame, insomuch that numerous verses, both in Latin and the 
 vulgar tongue, were composed to his honour; of these I will but insert the 
 following, that I may not make a longer story than is needful : — 
 
 " Pingunt sola alii, referantque coloribus ora ; 
 Cm-IJiiT OS Raphael atque anirnum c.ipJicuit." 
 
 At a later period our artist painted a small picture, which is now at 
 l>ologna, in the possession of the Count Vicenzio Ercolani. The subject of 
 this work is Christ,' enthroned amid the clouds, after the manner in which 
 
 " Quatreraere do Quincy declares this figure to re[)rosent not Clirist, but Ezekiel himself ; this 
 opinion has, however, not found advocates among such of the later writers as are considered tlic best 
 authority. 
 
LIFE OF RAPHAEL. 
 
 37 
 
 Jupiter is so frequently depicted, but the Saviour is surrounded by the four 
 Evangelists, as described in the book of Ezekiel. One in the form of a man, 
 that is to say ; another in that of a lion ; the third as an eagle ; and the 
 fourth as an ox. The earth beneath exhibits a small landscape, and this 
 work, in its minuteness — all the figures being very small — is no less beautiful 
 than are the others in their grandeur of extent.' 
 
 To Verona, Raphael sent a large picture of no less excellence, for the 
 Counts of Canossa. The subject is the Nativity of Our Lord, admirably 
 treated : the day-break in particular, as here portrayed, has been highly 
 commended, and the same may be said of the figure of Sant' Anna, and 
 indeed of the whole work, which one could not extol more effectually than 
 by the simple assertion, that it is by the hand of Raphael da Urbino. The 
 Counts hold this picture in the highest estimation, as it well deserves ; very 
 great sums have been ofiered to them for it by different princes, but they 
 have never been prevailed on to part with it.'^ 
 
 For Bindo Altoviti, Raphael executed a picture of himself when he 
 (Bindo) was still young, and this work also has obtained, as it merits, the 
 highest admiration.^ He also painted a picture of the Madonna for the same 
 person, who despatched it to Florence : this is now preserved in the Palace 
 of the Duke Cosimo : it has been placed in the Chapel of the ncAv apartments, 
 which have been built and painted by myself, where it serves as the Altar- 
 piece : the subject is Sant' Anna,* a woman much advanced in years, who is 
 
 ' This picture was doubtless painted after the St. Ceciha, as Vasari affiims ; the assertion of 
 Malvasia to the contrary is by no means well-founded, or adequately supported by evidence. The work 
 is now in the Pitti Palace. 
 
 - This picture was for some time supposed to have disappeared, it was then believed by certain 
 writei s to have been discovered in the Palace of the Belvedere at Vienna, and is now generally affirmed 
 to be in that city ; but " in the palace of the Prince of Thurni and Valdassina." 
 
 ' The portrait of Bindo Altoviti is now in the Pinacoteca at Munich. 
 
 * This is not St. Anna, but St. EHzabeth, whose countenance, Eichardson, Account of Paintin(/s, 
 Statues, ikc, declares to be very like that of a Sibyl painted by Raphael in the Chiesa della Pace 
 (Church of Peace). 
 
38 
 
 LIFE OF RAPHAEL. 
 
 seated with the infant Christ in her arms; she is holding him out to the 
 Virgin, and the beauty of his nude figure, with the exquisite loveliness of 
 the countenance which the master has given to the Divine Child, is such, that 
 his smUe rejoices the heart of all who behold him. To Our Lad}' also, 
 Ilaphael has imparted all the beauty which can be imagined in the expression 
 of a virgin ; in the eyes there is modesty, on the brow there shines honour, the 
 nose is one of very graceful character, and the mouth betokens sweetness and 
 excellence. In the vestments also, there is an indescribable simplicity with 
 un attractive modesty, which I do not think could possibly be surpassed; 
 there cannot indeed be anj'thing better of its kind than is this whole work : 
 there is a beautiful figure of the little San Giovanni undraped, in this picture, 
 with that of another saint, a female, which is likewise very beautiful.' The 
 background represents a dwelling, in which there is a window partially 
 shaded, through which light is given to the chamber wherein the figures are 
 seated. 
 
 In Rome, Raphael likewise painted a picture of good size, in which he 
 represented Pope Leo, the Cardinal Giulio de' Medici, and the Cardinal de' 
 Rossi. The figures in this work seem rather to be in full relief, and living, 
 than merely feigned, and on a plane surfiice. The velvet softness of the 
 skin is rendered with the utmost fidelity ; the vestments in which the Pope 
 is clothed are also most faithfully depicted, the damask shines with a glossy 
 lustre; the furs which form the linings of his robes are soft and natural, 
 while the gold and silk are copied in such a manner that they do not seem to 
 be painted, but really appear to be silk and gold. There is also a book in 
 parchment decorated Avith miniatures, a most vivid imitation of the object 
 represented, with a silver bell, finely chased, of which it would not be pos- 
 sible adequately to describe the beauty. Among other accessories, there is, 
 
 ' This {licture, called the Madonna dclV Impannata, is now in the Pitti Palace. Longhena 
 speaks of an engraving from it by the Spanish engraver, Emanuelc Esquivel, and it has also been 
 engraved by Cornelius Cort, and others. 
 
HELIODORUS DRIVEN FROM THE TEMPLE. 
 
 IN THK CHAMBER OF " HELIODOEUS," IN THE VATICAN. 
 
 MM^ELIODORUS, who attempted to seize the guarded treasure in the Temple of 
 g^lf Jerusalem, is being driven out by an apparition sent by God. (See Maccabees, 
 book II. cliap. iii. v. 25) . In the interior of the temple is the chief-priest Onias, and 
 persons in prayer before the tabernacle and the candlestick with seven branches. 
 Heliodorus has fallen on the ground, and his soldiers have taken flight, pursued by a 
 celestial horseman and two angels with scourges. On the left hand the people are 
 collected, amongst whom there are several women, who show great enthusiasm at the 
 sight of the divme help. In the foreground. Pope Julius II., seated on his chair borne 
 by four men, contemplates the scene. The first of the four bearers is the celebrated 
 engraver, Marc Antonio Raimondi. The second is perhaps Giulio Romano. 
 
LIFE OF RAPHAEL. 39 
 
 moreover, a ball of burnished gold on the seat of the Pope, and in this — such 
 is its clearness — the divisions of the opposite window, the shoulders of the 
 Pope, and the walls of the room are faithfully reflected ; all these things are 
 executed with so much care, that I fully believe no master ever has done, or 
 ever can do anything better.' For this work, Raphael was richly rewarded 
 by Pope Leo. It is now in Florence, in the Guardaroba of the Duke.' He 
 also painted the portraits of the Duke Lorenzo and of the Duke Giuliano, 
 whom he depicted with that perfection and that grace of colouring which is 
 to be seen in no other than himself. These works belong to the heirs of 
 Ottaviano de' Medici, and are now in Florence.^ 
 
 The fame of Raphael continued to increase largely, as did the rewards 
 conferred on him; wherefore, desiring to leave a memorial of himself in 
 Rome, he caused a palace to be erected in the Borgo Nuovo, Avhich was 
 decorated with stucco work by Bramante.* The renown of this most noble 
 artist having been carried, by the fame of these and other works, into France 
 and Flanders, Albert Diirer, a most admirable German painter, and the 
 engraver of most beautiful copperplates, sent a tribute of respect to Raphael 
 from his own works, a head, namely, which was his own portrait, executed 
 on exceedmgly fine linen, which permitted the picture to appear equally on 
 both sides, the lights not produced by the use of whites, but transparent and 
 the whole painted in water colours. This work was much admired by 
 
 1 This picture, remarks Bottari, must have been painted between the years 1517 and 1519, since 
 the Cardinal de' Eossi received the purple in the first-mentioned year, and died in the \a.%i.~Roman 
 Edition, 1759. 
 
 - Now in the Pitti Palace. Of the fine copy made from this work by Andrea del Sarto, some 
 mention is made by our author in his life of Andrea. 
 
 ^ Of these portraits notliiiig absolutely certain is now known. There is a copy of that of Giuliano 
 in the Florentine Gallery, whicli was once believed to be by Vasari himself, but it is now attributed to 
 Alessandro Allori. 
 
 * Raphael's house was destroyed to make way for the Colonnade of St. Peter's. See Ferrario. 
 and Giacomo de' Rossi, Palazzi di Roma. See also Fea, Notizie intorno a Raffaello Sanzio. 
 
40 
 
 LIFE OF RAPHAEL. 
 
 liapliael, who sent a number of his own drawings to Albert Diircr/ by whom 
 they were vcr}- hi<rhly estimated. The head sent by the German artist, 
 Albert DUrer, to Raphael, was subsequently taken to Mantua, among the 
 other possessions inherited from the last named master, by Giulio Romano.* 
 
 Raphael having been thus made acquainted with the mode bf proceeding 
 adopted in his engravings by Albert Diir» •, was desirous of seeing his t)wn 
 works treated after that manner; he therefore caused Marco Antonio of 
 ])ologna, who Avas well practised in that branch of art, to prepare numerous 
 studies from them ; and in this Antonio succeeded so well, that Raphael 
 commissioned him to engrave many of his earliest works, namely, the 
 Slaughter of the Innocents, a Last Supper, the Neptune, and the Santa 
 Cecilia, when she is being boiled in oil.^ Marco Antonio subsequently 
 executed a number of engravings, which were afterward given by Raphael 
 to II Baviera, his disciple, who was the guardian of a certain lady, to whom 
 Raphael was attached till the day of his death, and of whom he painted a 
 most beautiful portrait, which might be supposed alive. This is now at 
 Florence, in the possession of the good and Avorthy Botti, a Florentine 
 merchant of that city," who is the friend and favourer of all distinguished 
 men, but more especially of painters ; by him the Avork is treasured as if it 
 wcjre a relic, for the love Avhich he bears to the art, but more especially to 
 
 ' One of these, containing two undrapcd figures of men, is now in the collection of tiic Archduke 
 ( 'iiarlos, at Vienna. The drawing is addressed to Albert Diirer by the hand of Rajihael himself, who 
 has also inscribed the date 1515. — Ed. Flor. 1832-8. The German Commentator, Ludwig Schorn. 
 adds, that the following inscription, written liy Albert DUrer, is also to be found thereon. " 1515, 
 Rafael of Urbino, who is so highly esteemcil by the Pope, has made this naked figure, and has sent if 
 to Xurembcrg to Albert Diirer, as a specimen of work fiom his hand." 
 
 - This portrait is now believed to be lost. 
 
 ' This is not St. Cecilia boiled in oil, but the martyrdom of Santa Folicita.'* and her sons. — Bottari. 
 VoY the legend of this saint, the reader is referred to Mrs. Jameson, Sacred and Lcf/endan/ Art, vol. 
 ii. p. 2C)G, et seq. See also Richa, Chiese Florentine, vol. ix. 
 
 * Still in Florence, in the tribune of the Uffizj, according to Masselli, but according to Schorn it 
 ha-* been removed to the Pilti Palace. 
 
LIFE OF RAPHAEL. 
 
 41 
 
 Raphael. Nor less friendly to artists than himself is his brother Simon 
 Botti, who, to say nothing of the fact, that he is held by us all to be one of 
 the most friendly among those who benefit our arts, is to myself in particular, 
 the best and truest friend that ever the long experience of many years made 
 dear to man : he has besides given proof of very good judgment in all things 
 relating to our own art. 
 
 But to return to the copperplate engravings. The favour which Raphael 
 had shown to II Baviera was afterwards the cause which induced Marco of 
 Ravenna, and many others, to labour in that branch of art; insomuch, that 
 what was formerly the great dearth of engravings on copper, became 
 eventually that large supply of them which we now find. Hugo da Carpi, 
 moreover, whose fine powers of invention were turned to the discovery of 
 many ingenious and fanciful devices, found out that of carving in wood, in 
 which, by means of three blocks, the light, shadow, and middle tint can equally 
 be given, and drawings in chiaro-scuro imitated exactly. Without doubt a 
 very beautiful and fanciful invention,^ which has since been largely extended. 
 
 For the monks of Monte Oliveto, Raphael executed a picture of Christ 
 Bearing his Cross, to be placed in their Monastery at Palermo, called Santa 
 Maria della Spasmo; this is considered to be a most admirable work, and is 
 remarkable, among other characteristics, for the force with which the master 
 has rendered the cruelty of the executioners, who are dragging the 
 Redeemer to his death on Mount Calvary, with all the evidences of a 
 furious rage. The Saviour himself, grievously oppressed by the torment of 
 the death towards which he is approaching, and borne down by the weight 
 of the Cross, has fallen to the earth faint with heat and covered with blood ; 
 he turns towards the Maries who are weeping bitterly. Santa Veronica is 
 also among those who surround him, and, full of compassion, she extends her 
 arms towards the Sufierer, to whom she presents a handkerchief with an 
 
 ' It is now well known that Lucas Cranach, Hans Griin, and other German engravers, practised 
 the art of wood-engraving long before the time of Hugo da Carpi. 
 
 G 
 
42 
 
 LIFE OF RAPHAEL. 
 
 expression of the deepest sympathy. There are besides vast numbers of 
 armed men on horseback and on foot, who are seen pouring forth from the 
 Gate of Jerusalem, bearing the ensigns of justice in their hands, and all in 
 attitudes of great and varied beauty. 
 
 This picture was entirely finished, but had not yet been fixed in its 
 place, when it was in great danger and on the point of coming to an unhappy 
 end. The matter was on this wise : The painting, according to what I have 
 heard related, was shipped to be taken to Palermo, but a frightful tempest 
 arose which drove the vessel on a rock, where it was beaten to pieces, men 
 and merchandize being lost together, this picture alone excepted, which, 
 secured in its packings, was carried by the sea into the Gulf of Genoa. Here 
 it was picked up and borne to land, when, being seen to be so beautiful a 
 thing, it was placed in due keeping, having maintained itself unhurt and 
 without spot or blemish of any kind ; for even the fury of the winds and the 
 waves of the sea had had respect to the beauty of so noble a work. The 
 fame of this event was bruited abroad, and the Monks, to whom the picture 
 belonged, took measures to obtain its restoration : in this they eventually 
 succeeded, though not without great difficulty and only by the aid of the 
 Pope, when they largely rewarded those who had effected its recovery from 
 the waves.' Being then embarked anew, the picture was ultimately landed 
 in Sicily; the Monks then deposited the work in the city of Palermo, where 
 it has more reputation than the Mount of Vulcan itself. 
 
 While Raphael was thus engaged with the works above described, which 
 he could not decline doing, partly because commissioned to execute them by 
 great and important personages, but partly, also, because a due regard for 
 
 ' Tins much celebrated picture, called Lo Spasimo di Sicilia, was taken to Paris, where it was 
 transfcn-ed fioni the panel to canvas ; it is now in the Eoyal Gallery of Madrid. The figure of St. 
 Veronica is not in the picture. Vasari described it from memory, and is in error on this ])oiut. 
 
 ■ Our author is here following the old poets, who make Mouut Etna the abode of Vulcau and the 
 site of his forge. 
 
THE MADONNA DEL PESCE. 
 
 IN THE ESCUEIAL, MADRID, 
 
 HE Virgin, seated on a throne, is holding on her knee the Infant Jesus, who is 
 bending towards Tobias, who has a fish in his hand. The angel Raphael is 
 presenting Tobias to the Holy Infant. On the right St. Jerome, his lion at his feet, is 
 standing near the throne, reading a large book. A large curtain forms the back- 
 ground. 
 
 This picture, bright in tone as the " Madonna di San Sisto/' perhaps surpasses 
 that masterpiece in expression. It would be impossible to render with better effect 
 the majesty of the Virgiu, the goodness and serenity of the Infant Jesus, the timid 
 expression of Tobias, or the manly dignity of St. Jerome.- — Passavant. 
 
LIFE OF RAPHAEL. 
 
 43 
 
 his interest would not permit him to refuse them,— while thus occupied, I 
 say, he did not on that account neglect to continue the works which he had 
 commenced in the Papal Halls and Chambers; on the contrary, he kept 
 people constantly employed therein, and by them the work Avas continued 
 from drawings made by his own hand, every part being minutely superin- 
 tended by himself, and the more important portions of the whole executed 
 by him, so far as was possible in a work of such magnitude. No long time 
 elapsed, therefore, before he gave to view the apartment of the Torre Borgia, 
 on every Avail of which he had placed a painting — two over the windows 
 namely, and two on the sides wherein there are no windows. In one of 
 these pictures the master has depicted the Conflagration of the Borgo 
 Vecchio of Rome, which could not be extinguished until Pope Leo IV. 
 presented himself at the Loggia of the Palace, and extinguished it entirely 
 by the power of his benediction. In this work is the representation of many 
 perilous incidents ; on one side are Avomen bearing vases of water on their 
 heads and in their hands wherewith to extinguish the flames ; the hair and 
 clothing of these figures are blown about by the fury of a tempestuous 
 wind ; others, Avho are attempting to throw water on the burning masses, 
 are blinded by the smoke, and appear to be in a state of bewilderment. At 
 another part of the picture is a group, resembling that described by Virgil, 
 of Anchises borne out of danger by ^neas. An old man being sick, is 
 exhausted by his infirmity and the heat of the fire, and is carried by a youth 
 in whose form the determination and power to save are manifest, as is the 
 efi'ort made by every member to support the dead weight of the old man 
 helplessly hanging in utter abandonment upon his back. He is followed by 
 an old woman barefoot and with loosened garments, who is rushing in haste 
 from the fire — a naked child goes before them. From the top of a ruined 
 building also is seen a woman naked and with dishevelled hair, who has an 
 infant in her hands Avhich she is about to throw down to one of her family ; 
 just escaped from the flames, the last-mentioned person stands in the road 
 
44 
 
 LIFE OF RAPnAEL. 
 
 below raised on the points of his feet and stretching forth his arms to receive 
 the child — an infant in swathing-bands, which the woman holds out to him : 
 and here the anxious eagerness of the mother to save her child is no less 
 truthfully expressed than is the suffering which she is herself enduring from 
 the devouring flames, glowing around and threatening to destroy her. In 
 the figure of the man who is receiving the child also there is as clearly to be 
 perceived the anxiety which he suffers in his desire to rescue it, with the 
 fear he entertains for his own life. Equally remarkable is the power of 
 imagination displayed by this most ingenious and most admirable artist in a 
 mother, who, driving her children before her, with bare feet, loosened 
 vestments, gii'dle unbound, and hair dishevelled, bears a part of her clothing 
 in her hands, and smites her children to hasten their flight from the falling 
 ruins and from the scorching fury of the flames. There are besides other 
 women, who, kneeling before the Pope, appear to be entreating that his 
 Holiness will cause the fire to be stayed.' 
 
 The second picture also represents an incident from the life of Pope Leo 
 IV : here the master has depicted the Port of Ostia occupied by the fleet of 
 the Turks, Avho had come to make his Holiness prisoner. On the sea 
 without are seen the Christians engaged in combat with the Turkish 
 Armada, and numerous prisoners are already observed to be entering the 
 harbour ; the latter are seen to issue from a boat whence they are dragged 
 by soldiers, the attitudes and countenances of whom are exceedingly spirited 
 and beautiful. The prisoners are clothed in a variety of vestments proper 
 to seamen, and are led before St. Leo, whose figure is a portrait of the then 
 reigning Pontiff, Leo X. His Holiness, who is in full pontificals, is 
 enthroned between the Cardinal of Santa Maria-in-Portico, Bernardo Divizio 
 da I'ibbiena namely, and Cardinal Giulio dc' ]\Iedici, who was afterwards 
 
 ' For various details respecting this work, which is that wlicrcin Rapliacl did the most with his 
 own hniid, those succeeding being for tlie most part by his scholars, sec Fassavani, vol. i. p. 261, vol. 
 ii. p. 19:i. 
 
LIFE OF RAPHAEL. 
 
 45 
 
 Pope Clement YIL It would not be possible minutely to describe the 
 admirable thought with which this most inventive artist has depicted the 
 countenances of the prisoners, in whose expression all necessity for speech is 
 superseded, so eloquently does it set forth their grief, their terror, and the 
 bitter foretaste which they are enduring of the death preparing for them.' 
 
 In the other two pictures is first Leo X. consecrating the most 
 Christian King," Francis I. of France. He is chanting the mass, robed in full 
 pontificals, and is blessing the oils wherewith to anoint the monarch at the 
 same time that he likewise blesses the royal crown ; a vast body of Cardinals 
 and Bishops, also in their episcopal robes, are serving the Mass, and there 
 are, moreover, numerous ambassadors and other personages portrayed from 
 nature, with several figures dressed m the French manner of that period. 
 The second picture represents the Coronation of the above-named King,^ and 
 here the Pope and Francis are both drawn from the life, the King in armour, 
 the Pope in his pontifical robes ; the College of Cardinals, a large number of 
 Bishops, chamberlains, shield-bearers, and grooms of the chamber, all in 
 their appropriate robes and dresses of ceremony, are placed in their due 
 position and proper order as is usual in the papal chapel. Among them are 
 many portraits from the life, as, for example, that of Giannozzo Pandolfini, 
 Bishop of Troy, and the most intimate friend of Raphael, with those of many 
 other persons holding eminent positions at that time. Near the King is a 
 
 * This picture has suffered more than the others ; it is said to have been executed principally by 
 Gaudenzio da Ferrara, but retouched bj Sebastiano del Piombo, who received a sharp reproof from 
 Titian for his pains. — Passavant, ut supra, 
 
 - The Coronation is that of Charlemagne, by Leo III., but the figure of the emperor is a 
 portrait of Francis I., as that of the Pontiff is of Pope Leo X. The work has been engraved by 
 Aquila. 
 
 3 Here also Yasavi is in error as to the subject, which is generally called the Justification of Leo 
 III., that Pontiff taking an oath on the Gospels, and in the presence of Charlemagne, that he is not 
 guilty in the matter of the charges brought against him by the nephew of Adrian I. The picture, 
 according to Passavant, was executed by the scholars of Eaphael. 
 
46 
 
 LIFE OF RAPnAEL. 
 
 boy kneeling, who bears the crown in liis hands ; this is the portrait of 
 Ippolito dc' Medici, who was afterwards a Cardinal and became Vice-Chan- 
 cellor — a highly esteemed prelate, and the firm friend, not of these arts only, 
 hut of all others- — one too, whose memory I am myself bound to hold in the 
 most grateful respect, and do indeed acknowledge myself deeply obliged to 
 him, since my own commencement in art, such as it may have been, had its 
 origin with that noble prelate. 
 
 To describe all the minute particulars of Raphael's works, wherein every 
 object seems to be eloquently speaking in its silence, would not be possible; 
 I must yet not omit to mention that beneath each of the pictures above 
 described is represented a socle or basement, wherein are depicted the 
 figures of various benefactors and defenders of the church, separated from 
 each other by terminal figures of various character,^ but all executed in such 
 a manner that every part gives evidence of the utmost thought and care ; all 
 are full of spirit, with a propriety and harmony of colour that could not 
 possibly be better. The ceUing of this apartment had been painted by 
 Pietro Perugino, Raphael's master, and this the latter, from respect to his 
 memory and from the affection that he bore him, would not destroy, seeing 
 that by his instructions it was that Raphael himself was first conducted to 
 the path which had led him to so high a position in art. 
 
 So comprehensive and extended were the views of Raphael in aU thmgs 
 relating to his works, that he kept designers employed in all parts of Italy, at 
 Puzzuolo, and even in Greece, to the end that he might want nothing of that 
 which appertained to his art ; and for this he spared neither labour nor cost. 
 
 Pursuing his works in the Vatican, Raphael decorated one of the halls in 
 
 ' These termini arc in chiaro-scuro of a yellow colour, tlicy were partly drawn as well as 
 executed, according to some authorities, by Giulio Komano. See Fassavont, ut supra. Bottari, in 
 the Roman edition, affirms them to have been so much injmcd by time as to have required almost 
 entirely repainting, which, he further informs us, and is herein followed by all later commentators, was 
 done in a very masterly manner by Carlo Maratti. 
 
ST. CECILIA. 
 
 IN THE MUSEUM, AT BOLOGNA. 
 
 T. CECILIA, her eyes turned towards heaven, is listening to the celestial songs 
 of sis angels. Her hands are lightly holding a little organ, and musical 
 instruments are lying half broken at her feet. On the right is the apostle Paul 
 leaning on his sword, and behind him St. John the Evangelist. On the opposite 
 side is St. Mary Magdalen holding a vase of perfume in her left hand, and behind her 
 is St. Augustine. 
 
 This picture, one of the most magnificent which the genius of Raphael has 
 produced, is, with regard to colour, an inimitable masterpiece, although it has lost 
 some of its brilUancy by successive restorations. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 47 
 
 terretta,' depicting several of the Apostles and numerous saints/ whom he 
 has represented standing in niches or tabernacles.^ There also he caused his 
 disciple Giovanni da Udine, who had not his equal in the delineation of 
 animals, to paint all those then in the possession of Pope Leo X. ; the 
 chameleon, for example, the civet cat, the apes, the parrots, the lions, the 
 elephants,* and other animals from distant lands. He also adorned many of 
 the floors and other parts of the palace with grottesche and other embellish- 
 ments ; and gave the design for certain of the staircases, as well as for the 
 loggie commenced by the architect Bramante, but which remained incomplete 
 at the death of that master, when they were continued after a new design, 
 and with many changes in the architecture, by Raphael himself, who prepared 
 a model in wood, the arrangement and decoration of which were richer and 
 more beautiful than that proposed by Bramante. 
 
 Pope Leo, desiring to show the greatness of his magnificence and 
 generosity, caused Raphael to make designs for the ornaments in stucco, 
 which he had resolved to have placed between the paintings^ executed in the 
 
 • Terretta, otherwise called Terra di Cava, or, as by Baldiiiucci, TeriYi da Boccali. " The 
 earth or clay used in making earthenware for the service of the table, and which, being mixed with 
 powdered charcoal, was employed for making grounds, for painting chiari-scuri, and even for the tints. 
 It is found in Rome, near St. Peter's and at Monte Spertoli, thirteen miles from Florence, and 
 appears to resemble what in England is called ' China clay.'" — From a note to the Ancient Treatises 
 on the Arts of Painting, admirably translated, with valuable notes, by Mrs. Merrifield. See the 
 Volpato Manuscript. 
 
 - Christ and the twelve apostles rather. — L. Schorn. 
 
 ^ These works were nearly destroyed by Pope Pius IV., who changed the Hall into a series of 
 smaller chambers, but when its original form was restored to the apartment by Gregory XIII. that 
 pontiff caused all then remaining to be restored by Taddeo Zucchero. The figures of Chi'ist and his 
 Apostles are best known to us through the engravings of Marco Antonio. 
 
 * Leo X. had received the present of an elephant from the King of Portugal, and' had its 
 portrait taken, in compliment to the Roman people, to whom the animal had furnished much amuse- 
 ment.— iJc?. Flor. 1832-8. 
 
 ^ Forty-eight subjects from the Old Testament namely, and four from the New, known as " The 
 Bible of Raphael." He surrounded them with m}-thological representations, giving the designs of all 
 himself. See Passavant, vols. i. and ii. 
 
48 
 
 LIFE OF RAPHAEL. 
 
 lofTgie, as well as for those in other parts ; and as superintendent of all these 
 (jrottesche in stucco, he appointed Giovanni da Udine, Giulio Romano being 
 commissioned to prepare the figures ; but the latter did not work at them to 
 any great extent. The Pontiff also commissioned Giovanni Francesco,' II 
 Bologna,^ Perino del Vaga, Pellegrino da Modena, Yincenzio of San 
 Gimignano, and Polidoro da Caravaggio, with many other artists, to execute 
 historical pictures, separate figures, and many other portions of the works, all 
 which Raphael caused to be completed with so much care, that he even 
 sufiered the pavement to be procured in Florence from Luca della Robbia,^ 
 inasmuch that, whether for the paintings, the stucco work, the architecture 
 or other beautiful inventions, a more admirable performance could not be 
 executed, nay, could scarcely be imagined ; its perfection was indeed the 
 cause of Raphael's receiving the charge of all the works in painting and 
 architecture that were to be executed in the palace. 
 
 It is said that Raphael was so courteous and obliging, that for the 
 convenience of certain among his friends, he commanded the masons not to 
 build the walls in a firm uninterrupted range, but to leave certain spaces and 
 apertures among the old chambers on the lower floors, to the end that they 
 might store casks, pipes, firewood, &c. therein ; but these hollows and spaces 
 weakened the base of the walls, so that it has since become needful to fill 
 them in, seeing that the whole work began to show cracks and other signs of 
 deterioration. For all the doors, wainscots, and other portions ornamented 
 in woodwork, Raphael caused fine carvings to be prepared, and these were 
 executed and finished in a very graceful manner by Gian Barile.^ 
 
 The architectural designs for the Vigna' of the Pope and for several 
 
 ' Giovanni Francesco Penni, called H Fattore. 
 
 - Bartolommco Eamenglii, called, from his birthplace, II Bagnacavello. 
 
 ' Not from Luca dclla Robbia, who was then dead, but from his ncpiicw Andrea. — Eil. Flor. 
 1832-8. 
 
 * For details respecting this celebrated carver in wood, see Delia Valle, Lettere Sanesi. 
 
 ' Vasari here means the Villa on Monte Mario, commenced by Raphael, for the Cardinal Giulio 
 
LIFE OF RAPHAEL. 
 
 49 
 
 houses in the Borgo," but more particularly for the palace of Messer Giovanni 
 Battista dall' Aquila, which was a very beautiful edifice, were likewise 
 prepared by Raphael. He also designed one for the Bishop of Troia, who 
 caused him to construct it in the Via di San Gallo at Florence.'* 
 
 For the Black Friars of San Sisto in Piacenza, Raphael painted a picture 
 intended to form the altar-piece for the high altar of their church, the subject 
 of this work is the Virgin with St. Sixtus and Santa Barbara, a truly 
 admirable production.^ Raphael painted many pictures to be sent into 
 France, but more particularly one for the king, St. Michael, namely, in 
 combat with the Arch-fiend; this also is considered singularly beautiful, a 
 rock, whence flames are issuing, represents the centre of the earth, and from 
 the clefts of this rock fires and sulphurous flames are proceeding, while 
 Lucifer, whose limbs, scorched and burning, are depicted of various tints, 
 exhibits every emotion of rage that pride, envenomed and inflated, can 
 awaken against the Oppressor of his greatness, by whom he is deprived of 
 his kingdom, and at whose hands he may never hope for peace, but is certain 
 to receive heavy and perpetually enduring punishment. In direct contrast 
 with this figure is that of the Archangel San Michele ; his countenance is 
 adorned with celestial beauty, he wears armour formed of iron and gold, 
 fearlessness, force, and terror are in his aspect, he has cast Lucifer to the 
 earth, and compels him to lie prone beneath his uplifted spear; the work 
 was performed in so admirable a manner, at all points, that Raphael 
 obtained, as he had well merited, a large and honourable reward for it from 
 
 de' Medici, afterwards Pope Clement VII., but finished by Giulio Romano, after designs of his own, 
 which were dififerent in many respects from those of Raphael. 
 
 ^ Destroyed to make way for the Colonnade of San Piotro. 
 
 2 Now the property of the Nencini family. — Ed. Flor. 1838. 
 
 ■'' This work was purchased by Augustus III., King of Poland, for 22,000 crowns, and is now in 
 the Dresden Gallery. Rumohr is of opinion that this picture was originally intended, not for an altar- 
 piece, but to be borne in procession, since it is not on panel, as Vasari's " tavola" might imply, but on 
 canvas. The work has been engraved by Miiller. 
 
 H 
 
50 
 
 LIFE OF RAPHAEL. 
 
 the king.' This master also paiuted the portrait of Beatrice of Ferrara,* 
 with those of other ladies ; that of his own inamorata is more particularly to 
 be specified, but he also executed many others.^ He was much disposed to 
 the gentler affections and delighted in the society of woman, for whom he 
 was ever ready to perform acts of service. But he also permitted himself to 
 be devoted somewhat too earnestly to the pleasures of life, and in this 
 respect was perhaps more than duly considered and indulged by his friends 
 and admirers. We find it related that his intimate friend, Affostino Chijri, 
 had commissioned him to paint the first floor of his palace,' but Raphael was 
 at that time so much occupied with the love which he bore to the lady of 
 his choice, that he could not give sufficient attention to the work. Agostino, 
 therefore, falling at length into despair of seeing it finished, made so many 
 efforts by means of friends and by his own care, that after much difficulty he 
 at length prevailed on the lady to take up her abode in his house, where she 
 was accordingly installed ui apartments near those which Raphael was 
 painting; in this manner the work was ultimately brought to a conclusion.^ 
 
 For these pictures Raphael prepared all the cartoons, painting many of 
 the figures also with his own hand in fresco.* On the ceiling he represented 
 the council of the Gods in heaven, and in the forms of these deities many of 
 
 ' Now in the Louvre. Engraved by Edclinck and others. 
 
 * Passavant is of opinion that the well-known picture in the Tribune of the Uflizj, hitherto called 
 the Fortiarina, is the portrait of Beatrice of Fcrrara, who was not, as he further informs us, a 
 royal personage, but may rather be conjectured to have been an improvisatrice. 
 
 ' Among these portraits was that of the celebrated beauty, Joanna of Aragon, now also in the 
 Louvre, and engraved by Morghen. Respecting these and other female portraits by Kaphael, see 
 Passavant, ut supra. 
 
 * That on the Lungara namely, now called the Farnesinaj and which has for many years been 
 the property of the King of Naples. 
 
 * Longhena, Storia, &c. will not admit the truth of this anecdote, which is denied by Passavant 
 also. For details respecting the paintings see the last named writer, with Pungileoni, Ehyio Siortco. 
 See also Fca, Notizie, »tc. 
 
 ^ ."Vccording to the best authorities but little of these works was executed by Raphael himself. See 
 Passavant. See also Rumohr, Longhena, and Pungileoni. 
 
POPE LEO THE TENTH, 
 
 WITH THE CAEDINALS GIULIO DE' MEDICI AND LODOVICO DE' UOSSI. 
 IN THE PITTI PALACE, FLORENCE. 
 
 HE Pope is seated in an arm-chair at a table covered with red cloth, upon which 
 
 are placed a richly-chased silver hand-bell and an illuminated breviary. He 
 is holding a magnifying-glass, with which he appears to have been examining the 
 miniatures in the book. Upon the left stands the Cardinal de' Medici (afterwards 
 Clement VII.), and on the right is the Cardinal de' Eossi, who rests his hands on the 
 back of the arm-chair. The Pope wears a cap of red velvet, and beneath his red cape 
 a garment of white damask with large sleeves trimmed with fur. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 51 
 
 the outlines and lineaments may be perceived to be from the antique, as are 
 various portions of the draperies and vestments, the whole admirably drawn 
 and exhibiting the most perfect grace. In a manner equally beautiful, 
 Eaphael further depicted the Marriage of Psyche, with the attendants 
 ministering to Jupiter, and the Graces scattering flowers. In the angles of 
 the ceiling also he executed other stories, representing in one of them a 
 figure of Mercury with his flute ; the god in his graceful movements appears 
 reaUy to be descending from heaven : in a second is the figure of Jupiter 
 depicted with an aspect of the most sublime dignit}^, near him is Ganymede, 
 whom with celestial gravity he is caressing, and on the remaining angles 
 are other mythological representations. Lower down is the chariot of 
 Venus, wherein Psyche is borne to heaven in a car which is drawn by the 
 Graces, who are aided by Mercury. In those compartments of the vaulting 
 which are above the arches and between the angles, are figures of boys most 
 beautifully foreshortened, they are hovering in the air, and bear the various 
 attributes proper to the different deities ; one has the thunderbolts of Jove, 
 for example, others bear the helmet, sword, and shield of Mars, or the 
 hammers of Vulcan, some are laden with the club and lion-skin of Hercules, 
 one carries the caduceus of Mercury, another the pipe of Pan, while others 
 again have the agricultural implements of Vertumnus : all are accompanied 
 by the animals appropriate to their various offices, and the whole work, 
 whether as painting or poetry, is of a truth eminently beautiful.^ All these 
 representations Raphael further caused Giovanni da Udine to surround with 
 a bordering of flowers, fruits, and foliage in the richest variety, disposed in 
 festoons, and all as beautiful as it is possible that works of the kind can be. 
 
 This master likewise gave a design for the stables of the Chigi Palace, 
 with that for the chapel belonging to the same Agostino Chigi in the Church 
 
 1 The pictures of the Farnesina were restored by Carlo Maratti. — Ed. Flor. 1832-8. See Bellori. 
 Delia Reparazione, &c. 
 
52 
 
 LIFE OF RAPHAEL. 
 
 oi Saiita Maria del Popolo, this he painted also/ and furthermore made 
 preparations for the construction of a magnificent sepulchral monument, for 
 which he caused the Florentine sculptor Lorenzetto to execute two figures,^ 
 these are still in his house situate in the Macello de Corvi in Rome/ But 
 the death of Raphael, and afterwards that of Agostino,* caused the execution 
 of the sepulchre to be made over to Sebastiano Viniziano.^ 
 
 Raphael had now attained to such high repute, that Leo X. commanded 
 him to commence the painting of the great hall on the upper floor of the 
 Papal Palace, that namely wherein the victories of Constantine are deli- 
 neated, and this work he accordingly began.*' The Pope also desired to have 
 certain very rich tapestries in silk and gold prepared, whereupon Raphael 
 made ready the Cartoons, which he coloured also with his own hand, giving 
 them the exact form and size required for the tapestries. These were then 
 despatched to Flanders to be woven, and when the cloths were finished they 
 were sent to Rome.^ This work was so admirably executed that it awakened 
 
 ' According to the Italian commentators, Raphael made the cartoons for this chapel, but did not 
 execute them. The Mosaic is said to be by the Venetian, Luigi da Pace, called Maestro Luisaccio. 
 The whole work has been finely engraved by Gruner, Rome, 1840. 
 
 - They represent the Prophets Elislia and .Jonas : the last said to have been modelled by Raphael 
 himself. 
 
 ^ They are now placed in the Chapel, with two other figures by Bernini, the latter representing 
 the Prophets Daniel and Ilabakkuk. 
 
 * Agostino Chigi died a few days after the death of Rapliael himself, on the 10th of April 
 namely, 1520. 
 
 ' Sebastiano Luciani, better known among ourselves as Sebastiano del Piombo, so called from the 
 office of signet (piombo) bearer, which he held under Clement VII. 
 
 ^ lie made the design for the gdncral arrangement, that is to say, with the cartoons for the 
 Speech of Constantine to his soldiers, that for the battle, and those for the allegorical figures of 
 .Justice and Clemency. These last he caused Giulio Romano and Francesco Penni to paint in oil, on 
 the wall, by way of specimen ; the remainder were executed by his discii)les after his death. For 
 (letails respecting these works, see Passavani, and the many other authorities above cited. 
 
 ^ The tapestries were sent to Rome, but the cartoons were not returned. Seven of the latter, of 
 which there were originally ten, are now, as our readers are aware, at the South Kensington Museum ; 
 ot the remaining three, certain fragments only now exist. 
 
LIFE OF RAPHAEL. 
 
 53 
 
 astonishment iu all who beheld it, as it still continues to do ; for the 
 spectator finds it difficult to conceive how it has been found possible to have 
 produced such hair and beards by weaving, or to have given so much soft- 
 ness to the flesh by means of thread, a work which certainly seems rather to 
 have been performed by miracle than by the art of man, seeing that we 
 have here animals, buildings, water, and innumerable objects of various 
 kinds, all so well done that they do not look like a mere texture woven in 
 the loom, but like paintings executed with the pencil.' This work cost 
 70,000 crowns, and is still preserved in the Papal chapel.^ 
 
 For the Cardinal Colonna, Raphael painted a San Giovanni on canvas, 
 which Avas an admirable work and greatly prized for its beauty by the 
 cardinal, but the latter being attacked by a dangerous illness, and having 
 been cured of his infirmity by the physician Messer Jacopo da Carpi, the 
 latter desired to be presented with the picture of Raphael as his reward ; the 
 cardinal, therefore, seeing his great wish for the same, and believing himself 
 to be under infinite obligation to his physician, deprived himself of the work, 
 and gave it to Messer Jacopo. It was now at Florence in the possession of 
 Francesco Benintendi.^ 
 
 Raphael also painted a picture for the Cardinal and Vice-chancellor Giulio 
 de' Medici,* a Transfiguration namely, which was destined to be sent into 
 France. This he executed with his own hand, and labouring at it continually, 
 
 ' These tapestries, ten in number, were designed by Pope Leo X. for the lower part of the wall 
 of the Sistine Chapel, and there Kaphael a short time before his death, on the 26th December, 1519, 
 that is to say, had the happiness of seeing them suspended, and of beholding aU Kome regarding them 
 with delight and admiration. 
 
 ^ The tapestries made after Raphael's designs were carried off in the sack of Rome by the 
 Constable Bourbon, but were restored during the pontificate of Julius III. 
 
 •■' This work has long adorned the Tribune of the Florentine Gallery of the UfEzj. In the collec- 
 lion of the same gallery is the sketch for it in red chalk. For details respecting the numerous copies 
 made from this picture, see Passavant, vol. ii. p. 355. 
 
 * Afterwards Pope Clement VII. 
 
54 
 
 LIFE OF RAPHAEL. 
 
 he brought it to the higliest perfection, depicting the Saviour transfigured 
 on Mount Tabor, with eleven of the disciples awaiting him at the foot of the 
 Mount. To these is meanwhile brought a youth possessed of a spirit, who is 
 also awaiting the descent of Christ, by whom he is to be liberated from the 
 demon.' The possessed youth is shown in a distorted attitude stretching 
 forth his limbs, crying, rolling his eyes, and exhibiting in every movement 
 the suffering he endures ; the flesh, the veins, the pulses, are all seen to be 
 contaminated by the malignity of the spirit, the terror and pain of tlie 
 possessed being rendered further manifest by his pallid colour and writhing 
 gestures. The figure is supported by an old man in whose widely open eyes 
 the light is reflected, he is embracing and seeking to comfort the aflflicted 
 boy, his knitted brow and the expression of his face show at once the appre- 
 hension he feels, and the force with which he is labouring to combat his fears ; 
 he looks fixedly at the apostles as if hoping to derive courage and consolation 
 from their aspect. There is one woman among others in this picture who 
 is the principal figure therein, and who, kneeling before the two just 
 described, turns her head towards the Apostles, and seems by the movement 
 of her arms in the direction of the possessed youth, to be pointing out his 
 misery to their attention. The Apostles also, some of whom are standing, 
 some seated, and others kneeling, give evidence of the deep compassion they 
 feel for that great misfortune. 
 
 In this work the master has of a truth produced figures and heads of such 
 extraordinary beauty, so new, so varied, and at all points so admirable, that 
 among the many works executed by his hand, this, by the common consent 
 of all artists, is declared to be the most worthily renowned, the most 
 excellent, the most divine. Whoever shall desire to see in what manner 
 Christ transformed into the Godhead should be represented, let him come 
 
 ' For this woi k lliiphael was to receive 655 ducats ; 224 of wliidi remaining unpaid at liis 
 death, were then made over to iiis heir, Giulio Komano, who probably worked with him at this 
 l>ic(urc.— Fhr. 1832-8. 
 
THE MADONNA BELLA SEDIA. 
 
 IN THE PITTI PALACE, FLORENCE. 
 
 '^^^^HE Virgin embraces the Infant Jesus, who is seated upon her knee, and upon 
 ^^^^ whose head her own inclines: both are looking at the spectator. The Holy 
 Mother wears a striped head-dress, the ends of which fall behind : her shoulders are 
 covered with a richly coloured dress ornamented with fringe. On the right, St. John, 
 holding a small cross in his arms, joins his little hands in adoration. The chair [scdia) 
 in which the Vii-gin is seated, gives the name to the picture. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 55 
 
 and behold it in this picture. The Saviour is shown floating over the mount 
 in the clear air; the figure, foreshortened, is between those of Moses and 
 Elias, who, illumined by his radiance, awaken into life beneath the splendour 
 of the light. Prostrate on the earth are Peter, James, and John, in attitudes 
 of great and varied beauty, one has his head bent entirely to the ground, 
 another defends himself with his hands from the brightness of that immense 
 light, which proceeds from the splendour of Christ, who is clothed in 
 vestments of snowy whiteness, his arms thrown open, and the head raised 
 towards heaven, while the essence and Godhead of all the three persons 
 united in himself, are made apparent in their utmost perfection by the divine 
 art of Raphael. 
 
 But as if that sublime genius had gathered all the force of his powers 
 into one effort, whereby the glory and the majesty of art should be made 
 manifest in the countenance of Christ ; having completed that, as one who 
 had finished the great work which he had to accomplish, he touched the 
 pencils no more, being shortly afterwards overtaken by death.' 
 
 Having now described the works of this most excellent artist, I will not 
 permit myself to consider it a labour to say somewhat for the benefit of those 
 
 1 Few readers will require to be reminded that the glorious Transfiguration of llapliael is now in 
 the Vatican. It was taken, with other works, to Paris in 1797, and was there cleaned, having become 
 almost indistinguishable. " The painter," remarks the German annotator, Schorn, " had succeeded in 
 expressing the light emanating from the person of Christ, and illuminating those beneath, by a 
 masterly use of chiaroscuro, but the lampblack having been affected by the lapse of time, mucli of the 
 original beauty of the work is lost. The head of the Apostle Andi-ew, the figm'e of the kneeling 
 maiden, and other parts, still remain, nevertheless, to give a fair idea of what the whole has been." 
 For minute details respecting this work, see Fiorillo, Geschichte der Malerei in Italien. Marco di 
 Figuera, Examen Analitico del Quadro, de la Transfigicracion. Constantin, Idees Italiennes sur 
 quelques Tableaux celebres, Florence, 1840 ; and Rumohr, Italienesche Forschungen. See also 
 Richardson, Account of Statues, Paintings, (fee. London, 1722; Duppa, London, 1816; with many 
 other m-iters, who have treated this subject with more or less ability. A very fine drawing made for 
 the engraving of this work is now at South Kensington, removed from Hampton Court. See the 
 Catalogue of the South Kensington Museum, and an article in a recent number of the Athencmm on 
 the Cartoons, &c. 
 
LIFE OF RAFllAEL. 
 
 who practise our calling, respecting the manner of Raphael, before proceeding 
 to the relation of such particulars as remain to be specified in regard to other 
 circumstances of his life, and to those which relate to his death. In his 
 childhood he had imitated the manner of his master, Pietro Perugino, but 
 had greatl}' ameliorated the same, whether as regarded design, colouring, or 
 invention : having done this, it then appeared to him that he had done 
 enough, but when he had attained to a riper age he perceived clearly that 
 he was still too far from the truth of nature. On becoming acquainted with 
 the works of Leonardo da Vinci, who in the expression which he gave to his 
 heads, whether male or female, had no equal, and who surpassed all other 
 painters in the grace and movement which he imparted to his figures; 
 seeing these works, I say, Raphael stood confounded in astonishment and 
 admiration : the manner of Leonardo pleased him more than any other that 
 he had ever seen, and he set himself zealously to the study thereof with the 
 utmost zeal ; by degrees therefore, abandoning, though not without great 
 difficulty, the manner of Pietro Perugino, he endeavoured as much as was 
 possible to imitate that of Leonardo. But whatever pains he took, and in 
 spite of all his most careful endeavours, there were some points and certain 
 difficulties of art in which he could never surpass the last named master.' 
 Many are without doubt of opinion that Raphael surpassed Leonardo in 
 tenderness and in a certain natural facility, but he was assuredl}- by no 
 means superior in respect of that force of conception and grandeur which is 
 so noble a foundation in art, and in which few masters have proved them- 
 selves equal to Leonardo : Raphael has nevertheless approached him more 
 nearly than any other painter, more particularly in the graces of colouring. 
 
 ' An Italian commentator here remarks, tliat, iiotwitlistanJing the marvellous genius of 
 Leonardo, he was exceedingly whimsical, and frequently sought the difficult as well as the good. 
 Kaphacl looked onl}' to the pei-fcction of his work, and if simple means sufficed to produce that, 
 with tlicse means he contented himself. " It may, therefore, he fairly in(|iiired," continues our writer, 
 " whether in these 'difficulties' of Vasari, Raphael could not, or whether it was that he would not, 
 surpass Leonardo." This is a question which we leave our readers to determine. 
 
LIFE OF RAPHAEL. 
 
 57 
 
 But to speak more exclusively of Raphael himself ; in the course of time 
 he found a very serious impediment, in that manner which he had acquired 
 from Pietro in his youth/ and which he had at the first so readily adopted : 
 dry, minute, and defective in design, he could not completely divest himself 
 of all recollection thereof, and this caused him to find the utmost difficulty in 
 learning to treat worthily the beauties of the nude form, and to master the 
 methods of those difficult foreshortenings which Michael Angelo Buonarroti 
 executed in his Cartoon, for the Hall of the Council in Florence. Now any 
 artist, who might have lost courage from believing that he had been 
 previously throwing away his time, would never, however fine his genius, 
 have accomplished what Raphael afterwards effected : for the latter having, 
 so to speak, cured and altogether divested himself of the manner of Pietro, 
 the better to acquire that of Michael Angelo, which was full of difficulties in 
 every part, may be said, from a master to have almost become again a 
 disciple, and compelled himself by incredible labours to effect that in a few 
 months, now that he was become a man, which even in his youthful days, 
 and at the time when all things are most easily acquired, would have 
 demanded a period of many years for its attainment."^ It is by no means to 
 be denied, that he who is not early imbued with just principles, or who has 
 not entered from the first on that manner which he can be content to pursue, 
 and who does not gradually obtain facility in the difficulties of the art, by 
 means of experience (seeking fully to comprehend every part and to confirm 
 himself by practice in the knowledge of all), will scarcely ever attain to 
 
 1 The Cavalier Tommaso Puccini, in a MS. note to Vasari, remarks, that on this point he 
 " cannot agree with the biographer, since it is certain that to Pietro \vc owe half the success of Eaphael 
 ■ Sanzio."— £'cZ. Fhr. 1832-8. 
 
 " " The works of Kaphael in Florence," remarks the German annotator, Ludwig Schorn, " bear 
 no trace of influence exercised on his manner by the cartoons of Michael Angelo, while they show 
 many of that exercised by the works of Fra Bartolommeo, and by the earnest manner of Leonardo da 
 Vinci." 
 
 I 
 
LIFE OF RAPHAEL. 
 
 perfection : or if he do attain it, must do so at the cost of much longer time 
 and greatly increased labour. 
 
 At the time when Raphael determined to change and ameliorate his 
 manner, he had never given his attention to the nude form, with that degree 
 of care and study which the subject demands, having draAvn it from the life 
 only after the manner which he had seen practised by Pietro his master, 
 adding nevertheless to all that he did, that grace which had been imparted to 
 him by nature. But he thenceforth devoted himself to the anatomical study 
 of the nude figure, and to the investigation of the muscles in dead and 
 excoriated bodies as well as in those of the living; for in the latter they 
 are not so readily to be distinguished, because of the iYnpediment presented 
 by the covering of the skin, as in those from which the outer integuments 
 have been removed; but thus examined, the master learnt from them in 
 what manner they acquire fulness and softness by their union, each in its 
 duo proportion ; and all in their respective places, and how by the due 
 management of certain flexures, the perfection of grace may be imparted to 
 various attitudes as seen in different aspects. Thus also he became aware of 
 the effects produced by the inflation of parts, and by the elevation or 
 depression of any given portion or separate member of the body or of the 
 whole frame. The same researches also made him acquainted with the 
 articulations of the bones, with the distribution of the nerves, the course of 
 the veins, &c. by the study of all which he rendered himself excellent in 
 every point requii'ed to perfect the painter who aspires to be of the best : 
 knowing, nevertheless, that in this respect he could never attain to the 
 emmence of Michael Angelo; like a man of great judgment as he was, he 
 considered that painting does not consist wholly in the delineation of the 
 nude form, but has a much wider field; he perceived that those who possess 
 the power of expressing their thoughts well uiid with facility, and of giving 
 effective form to their conceptions, likewise deserve to be enumerated among 
 the perfect painters; and that he, who in the composition of his pictures 
 
THE MADONNA DELLA TBNDA. 
 
 IN THE PINACOTHECA, MUNICH. 
 
 HE Virgin is seated with her face in profile, and embraces with her right arm 
 the Infant Jesus, who is seated on her lap. He is turning his head and seems 
 to be hstening to the words of little St. John, who is standing in an attitude of adoration. 
 The Virgin's head is covered with a richly-ornamented cloth. The curtain (tenda) which 
 forms the background gives the name to the picture. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 59 
 
 shall neither confuse them by too much, nor render them poor by too little, 
 but gives to all its due arrangement and just distribution, may also be 
 reputed a judicious and able master. 
 
 But in addition to this, as Raphael rightly judged, the art should be 
 further enriched by new and varied inventions in perspective, by views of 
 buildings, by landscapes, by a graceful manner of clothing the figures, and 
 by causing the latter sometimes to be lost in the obscurity of shadows, some- 
 times to come prominently forward into the clear light; nor did he fail to 
 perceive the importance of giving beauty and animation to the heads ot 
 women and children, or of imparting to all, whether male or female, young 
 or old, such an amount of spirit and movement as may be suited to the 
 occasion. He gave its due value, likewise, to the attitudes of horses in battle 
 scenes, to their movements in flight, and to the bold bearing of the warriors : 
 the due representation of animals in all their varied forms did not escape his 
 consideration, still less did that of so portraying the likenesses of men that 
 they may appear to be alive, and may be known for those whom they are 
 intended to represent. Raphael perceived in like manner that innumerable 
 accessories of other kinds and of all sorts were equally to be taken into 
 account, as, for example, the ornament of the work by well arranged and 
 beautiful draperies, and vestments of every kind ; by due attention to the 
 helmets and other parts of armour, to the appropriate clothing of the feet, 
 and to the head-dresses of women : he saw that equal care should be accorded 
 to the hair and head of figures, to vases, trees, grottoes, rocks, fires, the air, 
 either turbid or serene, clouds, rains, tempests, lightnings, dews, the 
 darkness of night, the moonlight, the sunshine, and an infinite variety of 
 objects beside, to every one of which attention is demanded by the require- 
 ments of painting ; all these things, I say, being well considered by Raphael, 
 he resolved, since he could not attain to the eminence occupied by Michael 
 Angelo on the point after which he was then labouring, to equal, or perhaps 
 to surpass him in those other qualities that we have just enumerated, and 
 
(50 
 
 LIFE OF RAPHAEL. 
 
 thus he devoted himself, not to tlie imitation of Buonarroti, lest he should 
 waste his time in useless efforts, but to the attainment of perfection in those 
 parts generally of which we have here made mention.' 
 
 And well would it have been for many artists of our day if they had 
 done the same, instead of pursuing the study of ]\Iichael Angelo's works 
 alone, wherein they have not been able to imitate that master, nor found 
 power to approach his perfection, they would not then have exhausted them- 
 selves by so much vain effort, nor acquired a manner so hard, so laboured, 
 so entirely destitute of beauty, being, as it is, without any merit of colouring, 
 and exceedingly poor in conception ; but instead of this, might very possibly, 
 b}" the adoption of more extended vieAvs and the endeavour to attain per- 
 fection in other departments of the art, have done credit to themselves as 
 well as rendered service to the Avorld.^ 
 
 Having made the resolution above referred to, therefore, and learning 
 that Fra Bartolommeo had a very good manner in painting, drew very 
 correctly, and had a pleasing mode of colouring, although, with the intention 
 of giving more relief to his figures, he sometimes made his shadows too 
 dark : knowing all this, Raphael determined to adopt so much of the Monk's 
 manner as he should find needful or agreeable to him; to take a medium 
 course, that is, as regarded design and colouring, and mmgling with what he 
 obtained from the manner of Fra Bartolommeo, other qualities selected from 
 the best that he could find in other masters, of many manners, he thus 
 formed one, which was afterwards' considered his own,^ and Avliich ever has 
 been, and ever will be highly esteemed by all artists. 
 
 ' " We need scarcely remark," observes Schorn, " that in his partiality for Michael Angclo, 
 \'asari here attributes that which was indeed the effect of Raphael's universality of genius, to his 
 supposed rivalry witli the first-named master." Puccini has an observation to the same effect. 
 
 * The remarks which Vasari here makes in regard to his fellow-students, are declared with 
 reason, by all writers who have noted tlie passage, to be more especially applicable to himself and liis 
 own works. 
 
 ' The art of Raphael would indeed have remained most inert and lifeless, had it consisted in the 
 
LIFE OF RAPHAEL. 
 
 61 
 
 Thus his manner was afterwards seen perfected in the Sibyls and 
 Prophets of the work, executed, as we have said, for the Church of Santa 
 Maria della Pace, and in the conduct of which he was greatly assisted by the 
 circumstance of his having seen the work of Michael Angelo in the Chapel 
 of the Pope. Nay, had Raphael remained constant to the manner as there 
 seen, had he not endeavoured to enlarge and vary it, for the purpose of 
 showing that he understood the nude form as well as Michael Angelo, he 
 would not have lost any portion of the good name he had acquired ; but the 
 nude figures in that apartment of the Torre Borgia, wherein is depicted the 
 Conflagration of the Borgo Nuovo, although certainly good, are not by any 
 means all excellent, or perfect in every part.' In like manner, those 
 painted by this master on the ceiling of Agostino Chigi's Palace in the 
 Trastevere, are not altogether satisfactory, since they want that grace and 
 softness which were peculiar to Raphael ; but the cause of this was, in great 
 part, his having suffered them to be painted after his designs by other 
 artists,^ an error which, judicious as he was, he soon became aware of, and 
 resolved to execute the picture of the Transfiguration in San Pietro-a- 
 Montorio, entirely with his own hand, and without any assistance from 
 others. In this work, therefore, will be found, all those qualities which, as 
 we have said, a good picture demands, and should exhibit : nay, had 
 Raphael not used in this picture, almost as it were from caprice, the lamp- 
 mere imitation and mingling of different manners. That he accepted the good wherever he found it, 
 is indeed most true, nor did he fail to profit by whatever progress was made in art, but his guide at 
 every step, and the cause of his greatness, was the ever ready eye of this master for nature, and his 
 ceaseless study of her beauties, as seen from the point of view presented by his own artistic idea and 
 feeling. 
 
 ^ " An opinion which may have been formed by Vasari, from the fact of his having regarded art 
 from a false point of view," remai-ks an Italian annotator. " No one denies that in di'awing the nude 
 figure, Michael Angelo attained to the ne plus ultra. But what Raphael had in mind was the ne quid 
 nimis ; nor did he forget the further warning, sunt certi denique fines, &c. ; there were consequently 
 limits which he did not desire to pass." 
 
 - He is then not to be reproved for their defects of execution. — Schorn, and others. 
 
LIFE OF RAPHAEL. 
 
 black, or printer's black, which, as we have more than once remarked, does 
 of its nature become evermore darker with time, and is thus injurious to the 
 other colours used with it: had he not done this, I believe that the work 
 would now be as fresh as when he painted it ; whereas it is, on the contrary, 
 not a little darkened. 
 
 I have thought proper to make these remarks at the close of this life, to 
 the end, that all may discern the labour, study, and care to which this 
 honoured artist constantly subjected himself, and with a view, more par- 
 ticularly, to the benefit of other painters, who may learn from what has been 
 said, to avoid those impediments, from the influence of which the genius and 
 judgment of Raphael availed to secure him. I will also add the further 
 observation, that every man should content himself with performing such 
 works as he may reasonably be supposed to be capable of and equal to, by 
 his inclination and the gifts bestowed on him by nature, without seeking to 
 contend for that which she has not qualified him to attain; and this let him 
 do, that he may not uselessly spend his time, fatiguing himself vainly, nay, 
 not unfrequently, to his own injury as well as discredit.^ Let it be observed, 
 moreover, that when what has been accomplished suffices, it is not good to 
 make further efforts, merely in the hope of surpassing those who by some 
 special gift of nature, or by the particular favour accorded to them by the 
 Almighty, have performed, or are performing, miracles in the art ; for it is 
 certain, that the man who has not the needful endowments, let him labour 
 as he may, can never efiect those things to which another, having received 
 the gift from nature, has attained without difficulty ; and of this we have an 
 example among the old masters in Paolo Uccello, who, struggling against 
 the natural bent of his faculties to make progress on a given path, Avent ever 
 backwards instead. The same thing has been done in our own days, and 
 but a short time since, by Jacopo da Pontormo ; nay, examples have been 
 
 ' A piece of advice of such value," remarks a c(impatri()t of our autiior, " tliat it might bi' 
 usefully written over the entrance of every academy of the fine arts throughout Europe." 
 
THE MADONNA DI SAN SISTO. 
 
 IN THE GALLERY, DRESDEN. 
 
 ETWEEN curtains which are looped up on each side of the picture, appears the 
 Virgin, like a divine apparition, standing upon luminous clouds and holding 
 the Infant Jesus in her arms. An immense glory, formed of countless heads of angels, 
 surrounds her with its golden radiancy. Pope St. Sixtus, clothed in a white tunic 
 covered with a pallium of golden cloth lined with purple, is kneeling on the left ; his 
 tiara is placed in the corner beneath him ; he supplicates the Virgin, and seems to 
 point out with his right hand to his flock, which are not included in the picture. On 
 the right hand is St. Barbara kneeling, her hands crossed on her chest, contemplating 
 the faithful, who are supposed to be in adoration. At the base of the picture are two 
 angels leaning on a balustrade ; one of them gazes upwards, while the other looks with 
 infinite grace towards the spectator. 
 
 This incomparable masterpiece is distinguished above all other paintings of Eaphael 
 in his later years, inasmuch as, according to all evidence, it was painted entirely by his 
 own hands; for each touch of the brush is so masterly and full of intelligence, the 
 colour is so luminously bright and so harmonious, the expression of the countenances 
 is so sweet and so angelic, that no one but Raphael himself could have attained to 
 such a sublimity of art. — Passavant. 
 
LIFE OF RAPHAEL. 
 
 63 
 
 seen in the experience of many others, as wc have said before, and as will 
 often be said again. And this is permitted to occur, perhaps, in order that 
 when Heaven has distributed its favours to mankind, each one may be 
 content with the portion Avhich has fallen to his lot. 
 
 But I have now discoursed respecting these questions of art at more 
 length perhaps than was needful, and will retvu-n to the life and death of 
 Raphael. This master lived in the strictest intimacy with Bernardo Divizio, 
 Cardinal of Bibbiena, who had for many years importuned him to take a 
 wife of his selection, nor had Raphael directly refused compliance with the 
 wishes of the Cardinal, but had put the matter off, by saying that he would 
 wait some three or four years longer. The term which he had thus set 
 approached before Raphael had thought of it, when he was reminded by the 
 Cardinal of his promise, and being as he ever was just and upright, he would 
 not depart from his word, and therefore accepted a niece of the Cardinal 
 himself for his wife. But as this engagement was nevertheless a heavy 
 restraint to him, he put off the marriage from time to time, insomuch that 
 several months passed and the ceremony had not yet taken place.^ Yet this 
 was not done without a very honourable motive, for Raphael having been 
 for many years in the service of the Court, and being the creditor of Leo X. 
 for a large sum of money, had received an intimation to the effect, that when 
 the Hall with which he was then occupied was completed, the Pontiff' 
 intended to reward him for his labours as well as to do honour to his talents 
 by bestowmg on him the red hat,^ of which he meant to distribute a con- 
 siderable number, many of them being designed for persons whose merits 
 
 ' The intended bride of Ruphacl was Maria Bibbiena, but this lady died before lie did, as we 
 learn from the inscription placed in the Pantheon by the testamentary injunction of liaphael himself. 
 It is, therefore, not improbable, that the true cause of the marriage being deferred was the illness of 
 the lady. — ScJiorn, Masselli. and others. 
 
 - No reader will now loquiie to be reminded that the red hat is that of a cardinal, and that to 
 receive the red hat is equivalent to being raised to the dignity of a cardinal of the iioman Church. 
 
()4 LIFE OF RAPHAEL. 
 
 were greatly inferior to those of Raphael.* The painter meanwhile did not 
 abandon the light attachment by which he was enchained, and one day on 
 returning to his house from one of these secret visits, he was seized with a 
 violent fever," which being mistaken for a cold, the physicians inconsider- 
 ately caused him to be bled, whereby he found himself exhausted, when he 
 had rather required to be strengthened. Thereupon he made his will, and, 
 as a good Christian, he sent the object of his attachment from the house, but 
 left her a sufficient provision wherewith she might live in decency ; having 
 done so much, he divided his property among his disciples ; Giulio Romano, 
 that is to say, whom he always loved greatly, and Giovanni Francesco,^ with 
 whom was joined a certain priest of Urbino, who was his kinsman, but whose 
 name I do not know.* He furthermore commanded that a certain portion of 
 his property should be employed in the restoration of one of the ancient 
 tabernacles in Santa Maria Ritonda,^ which he had selected as his burial 
 place,*^ and for which he had ordered that an altar, with the figure of Our 
 
 ' The father Pungileoni, and the advocate C. Fea, deny that there was any intention of this 
 kind on tlie part of Leo, but Longhena, in a note to the Istoria, makes certain obsen'ations, from 
 whicli it seems probable that what we hear I'cad is nevertheless true. We leave our readers to decide 
 between these authorities ; but it is to be remarked that no instance of the cardinal's hat having been 
 bestowed in recompense of artistic talent has yet been known. 
 
 ^ Longhena, Pungileoni, Passavant, and all whose researches entitle them to attention, agree to 
 attribute the fever which deprived the world of this great painter, to the too earnest zeal of his laboure 
 in the examination of the Roman antiquities, labours which rendered a frame prematurely weakened by 
 mental exertions, an easy prey to the malaria so fatally prevalent in the localities to which his 
 researches must of necessity have led him. 
 
 To these disciples he left his artistic possessions only ; to Cardinal Bibbiena he bequeathed the 
 palace built for him by Bramante. 
 
 * The priest of Urbino, liis kinsman, and the Brotherhood of the Misericordia in that city, 
 dividing a certain portion of tlic master's property between them, and the remainder going to his 
 kinsmen on the mother's side, the sons of Giovanni Battista Ciarla. 
 
 * The Pantheon is popularly so called. 
 
 ^ Raphael also left funds for a mass to be performed yearly for the repose of his soul in Santa 
 Maria ad Marfyres, so is the Pantheon also called. 
 
LIFE OF RAPHAEL. 
 
 65 
 
 Lady in marble, should be prepared ; i all that he possessed besides he 
 bequeathed to Giulio Romano and Giovanni Francesco, naming Messer 
 Baldassare da Pescia, who was then Datary^ to the Pope, as his executor. 
 He then confessed, and in much contrition completed the course of his life, 
 on the day whereon it had commenced, which was Good Friday.^ The 
 master was then in the thirty-seventh year of his age, and as he embellished 
 the world by his talents while on earth, so is it to be believed that his soul 
 is now adorning heaven. 
 
 After his death the body of Raphael was placed at the upper end of the 
 hall wherein he had last worked, with the picture of the Transfiguration, 
 which he had executed for Cardinal Giulio de' Medici, at the head of the 
 corpse. He who, regarding that living picture, afterwards turned to 
 consider that dead body, felt his heart bursting with grief as he beheld 
 them. The loss of Raphael caused the Cardinal to command that this work 
 should be placed on the High Altar of San Pietro-a-Montorio, where it has 
 ever since been held in the utmost veneration for its own great value, as 
 well as for the excellence of its author.* The remains of this divine artist 
 received that honourable sepulture which the noble spirit whereby they had 
 been informed had so well deserved, nor was there any artist in Rome who 
 did not deeply bewail the loss sustained by the departure of the Master, or 
 who failed to accompany his remains to their repose. 
 
 The death of Raphael was in like manner bitterly deplored by all the 
 papal court, not only because he had formed part thereof, since he had held 
 the office of chamberlain to the PontilF, but also because Leo X. had 
 esteemed him so highly, that his loss occasioned that sovereign the bitterest 
 
 1 This was done by Lorenzo Lotti, called Lorenzetto. 
 
 2 President of the Chancery. 
 ^ In the year 1520. 
 
 ■* Considered, as our readers are aware, the first picture in the world, and now in the 
 Vatican. 
 
 K 
 
66 
 
 LIFE OF RAPHAEL. 
 
 grief.' Oh most happy and thrice blessed spirit, of whom all are proud to 
 speak, whose actions are celebrated with praise by all men, and the least of 
 whose works left behind thee, is admired and prized ! 
 
 When this noble artist died, well might Painting have departed also, for 
 when he closed his eyes, she too was left as it were blmd.^ But now to us, 
 whose lot it is to come after him, there remains to imitate the good, or 
 rather the excellent, of which he has left us the example, and as our obli- 
 gations to him and his great merits well deserve to retain the most grateful 
 remembrance of him in our hearts, while we ever maintain his memory in 
 the highest honour with our lips. To him of a truth it is that we owe the 
 possession of invention, colouring, and execution, brought alike and alto- 
 gether to that point of perfection for which few could have dared to hope ; 
 nor has any man ever aspired to pass before him.^ 
 
 And in addition to the benefits Avhich this great master conferred on art, 
 being as he was its best friend, Ave have the further obligation to him of 
 having taught us by his life in what manner we should comport ourselves 
 towards great men, as well as towards those of lower degree, and even 
 towards the lowest ; nay, there was among his many extraordinary gifts one 
 of such value and importance, that I can never sufficiently admire it, and 
 
 ' During liis illness, which lasted a fortnight, Raphael is said to have received proofs of the most 
 affectionate interest from all quarters, not excepting the Pope himself. 
 
 * His place of hurial was in the Panthcoii, immediately beneatli the figure of the Madonna, 
 executed, as above said, by Lorenzetto. The tomb was opened in October, 1S3.'5, when the skeleton 
 was found remaining, with the skull entire, proving that a skull previously preserved as that of 
 Raphael in the Academy of St. Luke, in Rome, was not that of the painter. This opening of the 
 tomb of Raphael is described in Italian by the Prince Pietio Odescalchi, and iu German by the 
 painter Overbeck. 
 
 Vasari has omitted here to mention the circumstance that Jiaphacl was architect of St. Peter s, 
 nor does he here allude to the fact, that he was much occupied towards the close of his life with 
 measures for the restoration of ancient Rome, but near the end of his work, and when speaking of his 
 obligations to the writings of Lorenzo Gbiberti and Ghirlandajo, he remarks, that the annotations of 
 Raphael were also of the most essential service to him. 
 
PORTRAIT OP A LADY. 
 
 BEATRICE OP FERRARA (?) 
 IN THE TRIBUNE, FLORENCE. 
 
 HIS is a nearly full-face portrait of a handsome young lady, who wears a wreath 
 of gold, enamelled with green leaves, around her head. She holds in one hand 
 a cloak trimmed with fui', which covers her deep-blue velvet bodice. In this picture 
 the decorations of the bodice and of the wreath, the filagree which glitters round her 
 neck, the ring which ornaments one of the fingers of her hand, and also the light 
 on the hair, are heightened with gold, which adds a magical richness to the painting. — 
 Passavard. 
 
 This picture has been engraved as " La Pornarina," but it is more probably the 
 portrait of a celebrated poetess and improvisatrice, Beatrice of Perrara. 
 
LIFE OF RAPHAEL. 67 
 
 always think thereof with astonishment. This was the power accorded to 
 hira by Heaven, of bringing all who approached his presence into harmony ; 
 an effect inconceivably surprising in our calling, and contrary to the nature 
 of our artists, yet all, I do not say of the inferior grades only, but even those 
 who lay claim to be great personages (and of this humour our art produces 
 immense numbers), became as of one mind, once they began to labour in the 
 society of Raphael, continuing in such unity and concord, that all harsh 
 feelings and evil dispositions became subdued and disappeared at the sight 
 of him; every vile and base thought departing from the mind before his 
 influence. Such harmony prevailed at no other time than his own. And 
 this happened because all were surpassed by him in friendly courtesy as well 
 as in art ; all confessed the influence of his sweet and gracious nature, which 
 was so replete with excellence, and so perfect in all the charities, that not 
 only was he honoured by men, but even by the very animals, who would 
 constantly follow his steps and always loved him.' 
 
 We And it related, that whenever any other painter, whether known to 
 Raphael or not, requested any design or assistance, of whatever kind, at his 
 hands, he would invariably leave his work to do him service ; he continually 
 kept a large number of artists employed, all of whom he assisted and 
 instructed with an aflection which was rather as that of a father to his 
 children, than merely as of an artist to artists. From these things it 
 followed, that he was never seen to go to Court but surrounded and 
 accompanied, as he left his house, by some fifty painters, all men of ability 
 and distinction, who attended him thus to give evidence of the honour in 
 which they held him. He did not, in short, live the life of a painter, but 
 
 1 " Who," inquires a zealous annotator of our author, " who, among the most affectionate 
 disciples of the great painter, could eulogize him with more enthusiasm and cordiality than does our 
 poor Vasari?" (he alludes to the bitter reproach of partiality so often and so unjustly brought against 
 the biographer) " he too who was the follower, not only of another master, but of that one precisely 
 who was the most powerful aud most uutircd antagonist of the object of his praise." 
 
68 
 
 LIFE OF RAPHAEL. 
 
 that of a prince. Wherefore, oh art of Pamting! well mightest thou for 
 thy part then esteem thyself most happy, having, as thou hadst, one artist 
 among thy sons, by whose virtues and talents thou wert thyself exalted to 
 heaven. Thrice blessed indeed mayest thou declare thyself, since thou hast 
 seen thy disciples, by pursuing the footsteps of a man so exalted, acquire the 
 knowledge of how life should be employed, and become impressed with the 
 importance of uniting the practice of vii'tue to that of art. Conjoined as 
 these were in the person of Raphael, their force availed to constrain the 
 greatness of Julius II. and to awaken the generosity of Leo X, both of 
 whom, high as they were in dignity, selected him for their most intimate 
 friend, and treated him with every kind of familiarity ; insomuch that by 
 means of the favour he enjoyed with them and the powers with which they 
 invested him, he was enabled to do the utmost honour to himself and to art. 
 Most happy also may well be called those who, being in his service, worked 
 under his own eye; since it has been found that all who took pains to 
 imitate this master have arrived at a safe haven, and attained to a respectable 
 position. In like manner, all who do their best to emulate his labours in 
 art, will be honoured on earth, as it is certain that all who resemble him in 
 the rectitude of his life will receive their reward in heaven. 
 
LIFE OF RAPHAEL. 
 
 69 
 
 The following epitaph was written on Raphael by the Cardinal Bembo : — 
 
 D. 0. M. 
 
 EAPHAELI. SANCTO. JOAN. F. VRBINATI. 
 PICTORI EMINENTISS. VETERVMQ AEMVLO, 
 CVIVS SriRANTEIS PROPE IMAGINEIS 
 SI CONTEMPLERE, 
 NATVRAE. ATQVE ARTIS FOEDVS 
 FACILE INSPEXERIS, 
 IVLII II. ET LEONIS X. PONT. MAX. 
 PICTVRAE ET ARCHITECT. OPERIBVS 
 GLORIAM AVXIT. 
 VIXIT. AN. XXXVII. INTEGER. INTEGROS.' 
 QVO. DIE NATVS EST, EO ESSE DESIIT. 
 VII. ID. APRIL. MDXX. 
 ILLE HIC. EST. RAPHAEL, TIMVIT. QUO. SOSPITE. VINCI 
 RERUM. MAGNA. PARENS, ET MORIENTE. MORI. 
 
 ^ " For the greater exactness," remarks Pungileoni, " we might here add, dies vm." And in so 
 short a life did Kaphael find time to execute all the pictures enumerated hy Vasari, with many others, 
 which he has omitted ; to render himself accomplished in architecture to such an extent, that he was 
 found capable of succeeding Bramante in the direction of the building of St. Peter's ; to study the 
 works of antiquity, and to pursue the most rigid and minute inquiry into those found in and around 
 Rome. Nay, so passionate a lover, and so zealous a student was Raphael of these antiquities, that he 
 wrote to Leo. X. concerning them, in these memorable words : " But with what justice can we com- 
 plain of the Goths and Vandals, and other perfidious enemies, if those who should defend these few 
 relics of old Rome, as fathers or guardians, have themselves been long found engaged in efforts to 
 destroy them ? " »fec. It is even believed that Raphael collected materials for the history of the artists 
 who had preceded him, since Vasari, as we have before said, admits himself to have profited by the 
 writings of Raphael among those of other authors. 
 
70 
 
 LTFE OF RAPHAEL. 
 
 The Count Baldassare Castiglione also wrote respecting the death of this 
 master in the manner following : — 
 
 Qiifxl lacerum corpus medica sanaverit arte, 
 
 llippohjiura, Sti/f/iis et revocarit aquis ; 
 Ad Stij(jias ipse est raptus Epidaurius undas ; 
 
 Sicprecium vttae mors f nit artifici. 
 Tu quoque dum toto laniatam corpore Romam 
 
 Coinponis miro, EapJuiel, inr/enio ; 
 Atque Urhis lacerum ferro, iyni, annisque cadaver. 
 
 Ad viiam, antiquum jam revocasque decus. 
 Movisti superum invidiam, indignataque mors est, 
 
 Te dudum extinctis reddere posse animam. 
 Et quod lonja dies paullatim aholeverat, hoc te 
 
 Mortali spreta lege parare iterum. 
 Sic miser Tieu, prima cadis iiHercepte juventa 
 
 Deberi et morti nostraque, nosque mones. 
 
APPENDIX. 
 
 A CATALOGUE OF THE PRINCIPAL PAINTINGS BY RAPHAEL. 
 CLASSIFIED ACCORDING TO THEIR SUBJECTS. 
 
 TRANSLATKD FROM THE APPENDIX TO " RAFAEL VON URBINO UND SEIN VATER GIOVANNI SANTI," 
 BY J. D. PASSAVANT, FORMERLY DIRECTOR OF THE SIUSEUM AT FRANKFORT. 
 
 The figures at the beginning of each line show the chronological order in which the subjects 
 
 were jyainted. 
 
 Nos. 1 to 20 were painted between a.d. 1500 and 1504, in the manner of Perugino. 
 Nos. 21 to 55 „ from 1504 to 1510, at Florence. 
 
 Nos. 56 to 103 „ from 1508 to 1513, at Rome, in the time of Pope Julius II. 
 Nos. 104 to 248 ., from 1513 to 1520, at Rome, in the time of Pope Leo X. 
 
 SUBJECTS TAKEN FROM THE BIBLE. 
 Nos. 121 to 172. 
 
 IFTY-TWO FRESCOES in the cupolas of the Loggie of the Vatican. Forty- 
 eight subjects from the Old Testament and four from the New Testament 
 executed by the pupils of Raphael, after his small sepia sketches, under the 
 direction of Giulio Romano. 
 
 4. A Church Banner, on which are painted the Holy Trinity, and on the 
 reverse, the Creation of Eve, at Citta di Castello. 
 67. The First Sin, on the ceiling of the Chamber of the " Segnatura '' in the Vatican. 
 74. Moses with the Tables of the Law, on the dado of the Chamber of the " Segnatura." 
 70. The Judgment of Solomon, on the ceiling of the Chamber of the " Sejrnatura " 
 
 94. GoD appearing to Noah. Fresco on the ceiling of the Chamber of Hehodorus in the Vatican. 
 
 95. The Sacrifice of Abraham. Fresco on the ceiling of the Chamber of Heliodoius. 
 
 96. The Dream of Jacob. Fresco on the ceiling of the Chamber of Heliodorus in the \'atican. 
 
 97. God appearing to Moses in the Burning Bush. Fresco on the coiling of the Chambci' of 
 
 Heliodorus in the Vatican. 
 103. Joseph before Pharaoh ; The Rkd Sea ; Moses Receiving the Tables of the Law. 
 
 Small paintings in the embrasures of the windows in the Chamber of Heliodorus. 
 105. The Prophets. Frescoes in S. Maria della Pace, at Rome. Daniel and David, Jonah and 
 
 Hosca. 
 
 85. The Prophet Isaiah. Fresco in the Church of S. Agostiao, at Rome. 
 110. Vision of Ezekiel. Pitti Palace, Florence. 
 
72 
 
 CLASSIFIED LIST OF 
 
 SUBJECTS RELATING TO CIIEIST. 
 
 No. 
 
 111. Bmxn OP Chuist. Lost. 
 
 36. Adoration of thk SuEPHF-nns. Formerly at Bologna. 
 
 1. The Infant Jesus Caressed by St. John. At Perugia. 
 
 197 to 207. Tapestries by Raphael, in the Vatican, second series. Twelve subjects taken from the 
 Life of Christ, and a thirteenth representing allegorical figures (for the most part by Giulio 
 Romano and other pupils of Raphael). 
 186 to 195. Tapestries by Raphael, in the Vatican; first series, taken from tlie Ili.story of the 
 Apostles. Ten subjects. 
 Thk Seven Cartoons of Raphael for the tapestries ; three are lost. Formerly at Hampton 
 Court, now at the South Kensington Museum. 
 120. Christ and the Apostles. Fresco in the " Sala Vecchia do Palafrcnieri " at Rome. (Re- 
 painted by Taddeo Zucchero). 
 73. Christ and his Apostles ; in the embrasure of a window in the Chamber of the " Segnatura." 
 17. Christ upon the Moi^nt of Olh^es ; in Mr. Fuller Maitland's Collection, England. 
 224. Christ bearing the Cross. {Lo Spasimo di Sicilia). Madrid Museum. 
 
 6. Christ on the Cross and Four Saints (from the Fesch Gallery). Now in Earl Dudley's 
 Collection. 
 
 48. The Entombment. Borghese Palace, Rome. 
 
 20. Three Small Circular Pictures. Christ seated upon a sarcophagus; Saint Louis ; and Saint 
 
 Herculanus. Berlin Museum. 
 
 2. The Resurrection. In the Vatican. 
 
 27. Peace be ^vith you. (Pax vobts). In the Tosi Collection, at Brescia. 
 241. The Transfiguration. In the Vatican. 
 
 119. Subjects relating to Christ, in the embrasures of the windows of the Chamber of the 
 " Incendio del Borgo " in the \'atican. 
 
 HOLY FAMILIES AND MADONNAS. 
 
 91. The Holy Family, 0/ JVi7/)/£s. Najjlcs Museum. 
 
 227. The Holy Family, The Pearl Madrid Museum. 
 
 226. The Holy Family, Beneath the Oalc. Madrid Museum. 
 
 46. The Holy Family, with the Infant Jesus seated upon a lamb. Madrid Museum. 
 
 229. The Holy Family, La Grande (dc 1518). Louvre. 
 
 232. The Holy Family, La Petite. Louvre. 
 
 45. The Holy Family, Tlic Canigiani. Munich Museum. 
 
 38. The Holy Family, with the beardless St. Joseph. Hermitage, St. Petersburg. 
 
 33. The Holy Family, with the Palm Tree. Bridgewater Gallery. 
 
 84. The Madonna, The Ftdir/no. Vatican. 
 
 221. Tmc Madonna, della ISedla. Florence. 
 
 30. The Madonna, with the Goldfinch {cardellino). Florence. 
 
 21. The Madonna, The Grand Duke of Tuscany' $, Pitti Palace, Florence. 
 
PAINTINGS BY RAPHAEL. 73 
 
 No. 
 
 54. The Madonna, Baldaquin. Pitti Palace. 
 
 25. Altab Pictubes for the Monastery of St. Anthony of Padua, at Perugia. 
 
 Principal painting, Madonna with Saints ; the Tympan, The Eternal Father, both in 
 the Naples Museum ; Paintings on the Predella — Christ on the Mount of Olives, Christ 
 bearing His Cross, the Dead Christ, Saint Francis and Saint Anthony of Padua. Dispersed 
 amono: English Collections. 
 
 9. The Madonna, The Countess Alfani^s. Alfani Collection at Perugia. 
 
 49. The Madonna, with the Pink. Spada Collection at Lucca. 
 12. The Madonna, Count Staffa's. Collection dclla StafFa. 
 
 92. The Madonna, with the Fish (au jpoisson). Madrid Museum. 
 
 273. The Madonna, with the Ease. Madrid Museum. 
 
 53. The Madonna, La Belle Jardiniere. Louvre. 
 
 83. The Madonna, witJi the Diadem {cm linge). Louvre. 
 
 39. The Madonna, La Petite, of the Orleans Gallery. Dclcssert Collection, Paris. 
 
 10. The Madonna, ivith Saint Jerome and Saint Francis. Berlin Museum. 
 
 22. The Madonna, The DuJce of Terranuova's. Berlin Museum. 
 7. The Madonna, The Solly. Berlin Museum. 
 
 52. The Madonna, the Colonna. Berlin Museum. 
 
 238. The Madonna, di San Sisto. Dresden Gallery. 
 
 222. The Madonna, deJla Tenda. Munich Museum. 
 32. The Madonna, The Tempi. Munich Museum. 
 31. The Madonna, in the Meadow. Vienna Museum. 
 
 55. The jMadonna, TJie Esterhazy. Estei'hazy Gallery, Vienna. 
 
 81. The Madonna, della Casa d'Alba. The Hermitage, St. Petersburg. 
 
 89. The jNIadonna, The Orleans. Bridgewater Gallery. 
 
 26. The ]\Lv.donna, The Ansidei. Blenheim. 
 
 51. The Madonna, The Gowper (1508). Panshanger. 
 
 23. The Madonna, TJie small Gowper (1505). Panshanger. 
 
 82. The Madonna, Aldobrandini. (Lord Garvagh's). National Gallery. 
 
 223. The Madonna, with the candelabra. (Formerly Mr. Munro's). 
 
 90. The IMadonna, with the Holy Child standing. Formerly in the Orleans Gallery. In England. 
 
 50. The Madonna, ivith the Infant Jesus asleep. Lost. 
 80, The JVL^donna, di Loreto. Lost. 
 
 SUBJECTS EELATING TO THE VIKGIN. 
 
 15. The Marriage of the Virgin. (Zo Sposalizio). Brera, Milan. 
 
 103. The Annunciation. In the embrasure of a window in the Chamber of Heliodorus. 
 
 225. The Visitation. Madrid Museum. 
 
 11. The Coronation of the Virgin. Vatican. 
 
 248. The Coronation of the Virgin. Finished by G. Eomano and F. Penni. Vatican. 
 196. The Coronation of the Virgin. Tapestry for the Sistine Chapel. Lost. 
 
 L 
 
74 
 
 CLASSIFIED LIST OF 
 
 SAINTS. 
 
 No. 
 
 74. Saint Augustine on the Sea Shoee. In the Chamber of the " Segiiatura,"' \ aticaii. 
 
 18. Saint Geohge with the Swohd. Louvre. 
 
 37. Saint George armed with a Lance. Hermitage, St. Petersburg. 
 
 240. Saint John the Baptist. Florence Gallery. 
 
 228. The Archangel Michaki-. Louvre. 
 
 1!). The Archangel Michael, Le Petit. Louvi-e. 
 
 The Archangels Michael and Raphael. National Gallery. 
 
 5. Coronation of Saint Nicholas de Tolentino. Formerly at Citta tli Castello. 
 
 101 . Deliverance of St. Peter. Fresco in the Chamber of Ilelioclorus, Vatican. 
 
 IH. Saint Sebastian. Lochis Collection, Bergamo. 
 
 29. Cajlaldulite Saints surrounding the Holy Trinity. Fresco at San Severo. 
 
 47. Saint Catherine of Alexandria. National Gallery. 
 
 109. Saint Cecilia. Bologna Museum. 
 
 208. Martitidom of Saint Cecilia. Fresco in the chapel of the Pope's country-house. 
 
 8. Mary Magdalen and Saint Catherine. Camuccini Collection. Rome. 
 
 230. Saint Margahet. Louvre. 
 
 231. Saint Margaret. (Repetition). Vienna Gallery. 
 
 MYTHOLOGICAL AND ALLEGORICAL SUBJECTS. 
 
 in the chamber of the " SEGNATURA " IN the VATICAN. 
 
 58. Mount Parnassus. A fresco. 
 
 68. The Judgment of Apollo against Marsyas. On the ccilin"-. 
 
 64. Allegorical Figure of Poetry. On the ccilinff. 
 63. Allegorical Figure of Theology. On the ceilin<i-. 
 
 65. Allegorical Figure of Philosophy. On the coilin"-. 
 
 66. Allegorical Figube of Jurisprudence. On the ceilin"-. 
 
 69. .\xlegobical Figure of Astronomy. On the ceiling. 
 60. Prudence, Fortitude, Moderation. Frescoes. 
 
 Philosophy. On the tlado. 
 
 Science (of things Divine). On the dado. 
 
 102. Twelve Allegorical Figures and Twelve small Compositions, on tlio wails of the Chamber 
 
 of Hcliodorus in the Vatican. 
 209 to 215. Seven iMytuological Subjects. Frescoes in the bath-room of Cardinal Bibbiena. 
 21(;. Six Cupids Victorious. Beneath the frescoes. 
 217. Cupid and Pan. On the ceilin"- 
 U»6. Galatka. At La Farnesina, Rome. 
 
 239. Cupid and Psyche. Frescoes in the Loggia de la I'arnesina. 
 
PAINTINGS BY RAPHAEL. 
 
 75 
 
 No. 
 
 42. The Theee Graces. Earl Dudley's Collection. 
 
 Cupids Playing. Five subjects, tapestries. Lost. 
 13. Vision of a Knight. National Gallery. 
 
 SUBJECTS FROM ANCIENT HISTORY. 
 
 105. The Sybils. Four Frescoes at Santa Maria della Pace, Rome. 
 
 218. Marriage of Alexander and Roxana. Fresco in the Villa Raphael, Rome. 
 
 in the chamber of the " SEGNATURA " IN THE VATICAN. 
 
 74. The Sybil of Tibur. On the dado. 
 
 74. Solon teaching the Greeks. On the dado. 
 
 71. Alexander the Great depositing the Works of Homer in the Tomb of Achilles. 
 
 In " grisaille," beneath the " Parnassus." 
 
 73. The Judgment of Seleucus. In the embrasure of a window. 
 
 74. Siege of Syracuse. On the dado. 
 
 74. The Death of Archimedes. On the dado. 
 
 59. The School of Athens. Fresco. 
 
 72. The Emperor Augustus Forbidding the Burning of Virgil's .^neid. In " grisaille." 
 74. A Pagan Sacrifice. On the dado. 
 
 74. Eastern Magicians. On the dado. 
 
 SUBJECTS RELATING TO THE CHURCH. 
 
 57. Theology. The Dispute concerning the Holy Sacrament {La Disputa). In the Chamber of 
 the " Segnatura," Vatican. 
 
 98. Heliodorus Driven from the Temple. Fresco in the Chamber of Hehodorus. 
 
 99. The Mass of Bolsena. A fi-esco in the same chamber. 
 
 244. The Baptism of Constantine. In the HaO of Constantino, Vatican, 
 
 242. Constantine Addressing his Soldiers. In the Hall of Constantine, Vatican. 
 
 245. The Donation of the City of Rome to the Pope. In the Hall of Constantine, Vatican. 
 103. Constantine gi^tng the City of Rome to the Pope. In the embrasure of a window in the 
 
 Hall of Heliodorus. 
 
 247. Subjt;cts from the History of Constantine. In the Hall of Constantine, Vatican. 
 
 115. Coronation of Charlemagne. Fresco in the Chamber of the " Inceudio del Borgo." 
 62. Gregory IX. giving the " Decretals." Fresco in the Chamber of the " Segnatura." 
 
 114. The Oath of Leo III. Fresco in the Chamber of the " Incendio del Borgo." 
 
 116. The Fire in the Borgo. Fresco in the chamber bearing that name. 
 
 118. Six Protectors of the Church of Rome. On the bases of the same chamber. 
 
 246. Eight Popes, with Allegorical Figures. Hall of Constantine. 
 
 103. A Pope Celebrating Mass. In the embrasure of a window in the Hall of Heliodorus. 
 
7(i 
 
 PAINTINGS BY RAPHAEL. 
 
 BATTLES. 
 
 No. 
 
 243. TiiF. Uattle of Constantine. In the Hall of Constantino, in the Vatican. 
 
 100. The Meeting of the Hordes of Attila. Fresco in the Chamber of Hcliodoi-us. 
 
 1 1 7. The "N'ictory over the Saracens. Fresco in the Chamber of the Incendio del Borgo." 
 
 PORTRAITS. 
 
 41. Raphael, by himself. Florence Gallery. 
 
 77. Raphael, by himself, (two copies). Lost. 
 
 75. Pope Julius II. Pitti Palace, Florence. 
 
 234. Pope Leo X. with the Cardinals Julius de Medici and Louis de Rossi. Pitti Palace. 
 
 235. Lorenzo dk Medici, Duke of Urbino. Lost. 
 
 107. GiuLio de Medici. Florence Gallery. (?) 
 
 108. Bernardo Dovizio da Bibbiena. Madrid Museum. 
 40. GuiDUBALDO, Duke of Urbino. Lost. 
 
 112. Baldassare Castiglione. Louvi-e. 
 
 76. Marchese Federico de Mantua. Lucy Collection, England. 
 
 220. Andrea Navagero and Agostino Beazzano. Lost. Copies of these portraits are in the 
 
 Doria Gallery, at Rome, where they pass for Baitolo and Baldo. 
 
 219. Antonio Tebaldeo. Lost. 
 
 88. BiNDO Altoviti. Munich Museum. 
 
 104. Fedra Inguirami. Pitti Palace. 
 
 34. Aj^gelo Doni and Maddalena Strozzi. 
 
 43. Don Blasio and Don Balthasar. Two Monks of the Monastery of Vallombrosa. Academy 
 
 of Florence. 
 
 226. A Plater on the Violin. Sciarra Colonna Palace, Rome. 
 
 24. A Young Man of the Family of Riccio. Jlunich Museum. 
 
 79. A Young Man. Louvre. 
 
 14. A Young Max. Kensington Palace. 
 
 237. Raphael's Mistress. Pitti Palace. 
 
 78. Raphael's Mistress. Barbcriui Palace, Rome. 
 233. Joanna of Aragon. Louvre. 
 
 44. A Young Girl. Pitti Palace. 
 87. A Woman. Florence Gallery. 
 
 35. A Woman. Florence Gallery. 
 
 CHI8WICK PEESS : rniNTED BY WIIITTINC.nAM AND WILKINS, 
 
 TOOKS COURT, aiANCEBY LANE. 
 
I