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th

THE
RAFFAELLE GALLERY
A SERIES OF TWENTY AUTOTYPE REPRODUCTIONS
OF ENGRAVINGS AFTER THE MOST
CELEBRATED WORKS OF
RAFFAELLE SANZIO D'URBINO
WITH MEMOIR AND DESCRIPTIONS
@ கை யை
OLCELLANO
LONDON:
BELL AND DALDY, YORK STREET, COVENT GARDEN.
1873
de
hin & Need
9-9-931
Da
1
MEMOIR
OF RAFFAELLE.
ABRIDGED FROM THE LIFE BY
THE
ABATE LUIGI LANZI.
T seems an ordinary law of Providence that individuals of con-
summate genius should be born and flourish at the same
period, or at least at short intervals from each other, a circum-
stance of which Velleius Paterculus protested he could never
discover the real cause. I observe, he says, men of the same commanding
genius making their appearance together, in the smallest possible space
of time; as it happens in the case of animals of different kinds, which,
confined in a close place, nevertheless, each selects its own class, and those
of a kindred race separate themselves from the rest. A single age sufficed
to illustrate tragedy in the persons of Æschylus, Sophocles and Euripides :
ancient comedy under Cratinus, Aristophanes and Eumolpides; and in like
manner the new comedy under Menander, Diphilus and Philemon. There
appeared few philosophers of note after the days of Plato and Aristotle, and
whoever has made himself acquainted with Isocrates and his school, is
acquainted with the summit of Grecian eloquence. The same remark applies
to other countries.
But although it be a matter of difficulty to account for this development
of rare talent at one particular period, we may hope to trace the steps of a
single individual to excellence; and I would wish to do so of Raffaelle.
He was born in Urbino in 1483; and if climate have any influence on
the genius of an artist, I know not a happier spot that could have been
chosen for his birth than that part of Italy which gave to architecture
a Bramante, supplied the art of painting with a successor to Raffaelle in
B
6
MEMOIR OF RAFFAELLE.
01
:
Baroccio, and bestowed on sculpture the plastic hand of a Brandani, without
referring to less celebrated but still deserving artists, the boast of Urbino
and her state. The father of this illustrious artist was Giovanni di Santi,
or, as he has been commonly called, Giovanni Sanzio, an artist of moderate
talents, who could contribute but little to the instruction of his son ;
although it was no small advantage
no small advantage to have been initiated in a simple
style, divested of mannerism. He made some further progress from studying
the works of F. Carnevale, an artist of great merit for the times in which
he flourished; and being placed at Perugia, under Pietro Perugino, he soon
became master of his style, and had probably already formed the design
of excelling him.
At this early period he painted several pictures for Città di Castello; the
most important was the Marriage of the Virgin, in the church of S. Fran-
cesco.* The composition very much resembles that which he adopted in a
picture of the same subject in Perugia ; but there is sufficient of modern
art in it to indicate the commencement of a new style. The two espoused
have a degree of beauty which Raffaelle scarcely surpassed in his mature
age, in any other countenances. The Virgin, particularly, is a model of
celestial beauty . A youthful band, festively adorned, accompany her to
her espousals; splendour vies with elegance; the attitudes are engaging,
the veils variously arranged, and there is a mixture of ancient and modern
drapery, which at so early a period cannot be considered as a fault. In
the midst of these accompaniments the principal figure triumphantly appears,
not ornamented by the hand of art, but distinguished by her native nobility,
beauty, modesty and grace. The first sight of this performance strikes us
with astonishment, and we involuntarily exclaim, How divine and noble
the spirit that animates her heavenly form!” The group of the men of the
party of S. Joseph is equally well conceived. In these figures we see nothing
of the stiffness of the drapery, the dryness of execution, and the peculiar style
of Pietro, which sometimes approaches to harshness; all is action, and an
animating spirit breathes in every gesture and in every countenance. The
landscapes are not represented with sterile and impoverished trees, as in the
back-grounds of Pietro; but are drawn from nature, and finished with carc.
The round temple in the summit is ornamented with columns, and exec
ecuted,
Vasari observes, with such admirable art, that it is wonderful to observe the
* This picture now forms the most valuable specimen of the R. Pinacoteca.
MEMOIR OF RAFFAELLE.
7
a
difficulties Raffaelle has willingly incurred. In the distance are beautiful groups,
and there is a figure of a poor man imploring charity depicted to the life;
and more near, a youth in the act of spitefully breaking his unblossomed
wand, a figure which proves the artist to have been master of the then novel
art of foreshortening. I have purposely described this specimen of the early
years of Raffaelle, in order to acquaint the reader with the rise of his
divine talents. In the labours of his more mature years, the various
masters whose works he studied may each claim his own; but in his
first flight he was exclusively supported by the vigour of his own talents.
The bent of his genius, which was not less voluptuous and graceful than
it was noble and elevated, led him to that ideal beauty, grace and expres-
sion, the most refined and difficult province of painting. To insure success
in this department neither study nor art is sufficient. A natural taste
for the beautiful, an intellectual faculty of combining the several excellencies
of many individuals in one perfect whole, a vivid apprehension, and
sort of fervour in seizing the momentary expressions of passion, a facility
of touch, obedient to the conceptions of the imagination, were means
which nature alone could furnish; and these, as we have seen, he possessed
from his earliest years. Whoever ascribes the success of Raffaelle to the
effects of study, and not to the felicity of his genius, does not justly appre-
ciate the gifts which were lavished on him by nature.
He became the admiration of his master and his
master and his fellow scholars ;
and about the same time Pinturicchio, after having painted with so much
applause at Rome, before Raffaelle was born, aspired to become, as it were, his
scholar in the great work at Siena. Pietro did not possess a genius sufficiently
elevated for the sublime composition which the place required; nor had he
sufficient fertility, or a conception of mind equal to so novel an undertaking.
It was intended to represent the life and actions of Æneas Silvius Piccolomini,
afterwards Pope Pius II.; the embassies entrusted to him by the Council of
Constance to various princes; and by Felix the antipope, to Frederick III., ,
who conferred on him the laurel crown; and also the various embassies which
he undertook for Frederick himself to Eugenius IV., and afterwards to Callistus
IV., who created him a cardinal. His subsequent exaltation to the papacy,
and the most remarkable events of his reign, were also to be represented ;
the canonization of S. Catherine; his attendance on the Council of Mantua,
where he was received in a princely manner by the duke; and finally his
death, and the removal of his body from Ancona to Rome. Never, perhaps,
}
8
MEMOIR OF RAFFAELLE.
was an undertaking of such magnitude entrusted to a single master.
Histo-
rical subjects of this nature were new to Raffaelle, and to him, unaccustomed
to reside in a metropolis, it must have been most difficult, in painting so
many as eleven pictures, to imitate the splendour of different courts, and the
manners of all Europe, varying the composition agreeably to the occasion.
Nevertheless, being conducted by his friend to Siena, he made the sketches
and cartoons of all these subjects. In April, 1503, Raffaelle was employed in
the Library, and while it was yet unfinished, Piccolomini was elected Pope;
and his coronation following on the eighth of October, Pinturicchio com-
memorated the event on the outside of the Library, in the part opposite to
the duomo. Bottari remarks, that in this façade we may detect not only
the design, but in many of the heads the colouring of Raffaelle. .
We
may here observe, that this work, which has maintained its colours so
well that it almost appears of recent execution, confers great honour on a
young artist of twenty years of age; as we do not find a composition of
such magnitude, in the passage from ancient to modern art, conceived by any
single painter. So that if Raffaelle stood not entirely alone in this work, the
best part of it must still be assigned to him, since Pinturicchio himself was
improving at this time, and the works which he afterwards executed at Spello
and Siena, incline more to the modern than any he had before done. This
will justify us in concluding that Raffaelle had already, at that carly age, far
outstripped his master.
The works which he saw in Florence did not lead him out of his own
path. He had formed his own system, and only sought examples to enlarge
his ideas and facilitate his execution. He therefore studied the works of
Masaccio, an elegant and expressive painter, whose Adam and Eve he adopted
in the Vatican. He also became acquainted with Fra Bartolommeo. To this
artist he taught the principles of perspective, and acquired from him, in return, a
better style of colouring. We have not any record to prove that he made himself
known to Da Vinci; and the portrait of Raffaelle, in the ducal gallery in
Florence, said to be by Leonardo, is an unknown head. No one was more
capable than Da Vinci of communicating to Raffaelle a degree of refinement and
knowledge, which he could not have received from Pictro; and to introduce
him into the more subtle views of art. As to Michael Angelo, his pictures were
rare, and less analogous to the genius of Raffaelle. His celebrated cartoon ("The
Cartoon of Pisa") was not yet finished in 1504, and that great master was
jealous of its being seen before its entire completion. In 1505 we find him
ΕΜΟΙ
MEMOIR OF RAFFAELLE.
9
in Perugia : and to this year belongs the chapel of S. Severo, and the
Crucifixion, which was severed from the 'wall, and preserved by the Padri
Camaldolensi. From these works, all in fresco, we may ascertain the style
which he acquired in Florence; and we may assert that it was not anatomical,
no traces of it being visible in the body of the Redeemer, which was an
opportunity well adapted for the exhibition of it. Nor was it the study of the
beautiful, of which he had previously exhibited such delightful specimens; nor
that of expression, as there were not to be found in Florence heads more
expressive and lovely than those he had painted. But after his visit to Florence,
we find his colouring more delicate, and his grouping and foreshortening of his
figures improved; whether or not he owed it to the example of Da Vinci or
Buonarotti, or both together, or to some of the older. masters. He afterwards
repaired to Florence, but soon quitted it again, in order to paint in the church
of S. Francis, in Perugia, a dead Christ entombed, the cartoon of which he
had designed at Florence; and which picture, first placed in the church of S.
Francis, was afterwards, in the pontificate of Paul V., transferred to Rome, and is
now in the Borghese palace. After this he returned again to Florence, and
remained there until his departure for Rome, at the end of the year 1508. In this
interval, more particularly, he executed the works which are said to be in his
second style, though it is a very delicate matter to attempt to point them out.
Vasari assigns to this period the Holy Family in the Rinuccini gallery, and
yet it bears the date of 1506. Of this second style is undoubtedly the picture
of the Madonna and the Infant Christ and S. John, in a beautiful landscape,
with ruins in the distance, which is in the gallery of the grand duke; and
others, some of which are to be found in foreign countries. His pictures of
this period are composed in the more usual style of a Madonna accompanied
by saints, like the picture of the Pitti palace, formerly at Pescio, and that of
S. Fiorenzo in Perugia, which passed into England. The attitudes, however,
the air of the heads, and smaller features of composition, are beyond a common
style. The dead Christ above-mentioned, is in a more novel and superior style.
The figures are not numerous, but each fulfils perfectly the part assigned to
it; the subject is most affecting; the heads are remarkably beautiful, and the
earliest of the kind in the restoration of art, while the expression of profound
sorrow and extreme anguish does not divest them of their beauty. After
finishing this work, Raffaelle was ambitious of painting an apartment in
Florence, one, I believe, of the Palazzo Publico. There remains a letter of
his, in which he requests the duke of Urbino to write to the Gonfaloniere
1
A
>
1
MEMOIR OF RAFFAELLE.
IO
Soderini, in April, 1508. But his relative, Bramante, procured him a nobler
employ in Rome, recommending him to Julius II. to ornament the Vatican.
He removed thither, and was already established there in the September of
the same year.
We at length, then, behold him fixed in Rome, and placed in the Vatican,
at a period, and under circumstances, calculated to render him the first
painter in the world. His principal pursuit at this time was the study of
the remains of Grecian genius, the ancient buildings, and the principles of
architecture by Bramante. He lived among the ancient sculptors, and
derived from them not only their contours, and drapery, and attitudes,
but the spirit and principles of the art itself. Not content with what he
saw in Rome, he employed artists to copy the remains of antiquity at
Pozzuolo and throughout all Italy, and even in Greece. Nor did he derive
less assistance from living artists, whom he consulted on his compositions.
“ The universal esteem which he enjoyed,” and his attractive
his attractive person and
engaging manners, which all accounts unite in describing as incomparable,
conciliated him in the favour of the most eminent men of letters.
His rival, Michael Angelo; and his party, contributed not a little to
the success of Raffaelle. As the contest between Zeuxis and Parrhasius was
beneficial to them both, so the rivalship of Buonarotti and Sanzio aided the
fame of Michael Angelo, and produced the paintings of the Sistine Chapel ;
and at the same time contributed to the celebrity of Raffaelle, by producing the
pictures of the Vatican, and not a few others. Michael Angelo, disdaining any
secondary honours, came to the combat, as it were, attended by his shield-
bearer, for he made drawings in his grand style, and then gave them to F
Sebastiano, the scholar of Giorgione, to execute; and by these means he
hoped that Raffaelle would never be able to rival his productions either in
design or colour. Raffaelle stood alone; but aimed at producing works with
a degree of perfection beyond the united efforts of Michael Angelo and
Sebastian del Piombo, combining in himself a fertile imagination, ideal beauty
founded on a correct imitation of the Greek style, grace, ease, amenity, and
an universality of genius in every department of the art. . The noble determi-
nation of triumphing in such a powerful contest animated him night and day,
and allowed him no respite. It also excited him to surpass both his rivals
and himself in every new work. The subjects, too, chosen for these chambers
aided him, as they were in a great measure new, or required to be treated
in a novel manner. They did not profess to represent bacchanalian or vulgar
t
MEMOIR OF RAFFAELLE.
ou
II
scenes, but the exalted symbols of science; the sacred functions of religion ;
military actions, which contributed to establish the peace of the world ;
important events of former days, under which were typified the reigns of the
pontiffs Julius and Leo X.; the latter the most powerful protector, and one
of the most accomplished judges of art. More favourable circumstances could
not have conspired to stimulate a noble mind.
Raffaelle, on his arrival in Rome,” says Vasari, " was commissioned to
paint a chamber, which was at that time called La Segnatura, and which, from
the subject of the pictures, was called the chamber of the sciences. On the ceiling
are represented Theology, Philosophy, Poetry, and Jurisprudence. Each of
them has on the neighbouring façade a grand historical piece, illustrative of
the subject. On the basement are also historical pieces which belong to the
same sciences; and these smaller performances, and the caryatides and telamoni
distributed around, are monocromati or chiaroscuri, an idea entirely of Raffaelle,
and afterwards, it is said, continued by Polidoro da Caravaggio. This
work must have been finished about the year 1508; and such was the surprise
and admiration of the Pope, that he ordered all the works of Bramantino, Piero
della Francesca, Signorelli, l'Abate di Arezzo, and Sodoma (though some orna-
mental parts by this last are preserved) to be effaced, in order that the whole
chamber might be decorated by Raffaelle.”
In the subsequent works of Raffaelle, and after the year 1509, we do
not find any traces of his first style. He had adopted a nobler manner, and
henceforth applied all his powers to the perfecting of it.
Vasari, until the finishing of the first chamber, in 1511, does not speak of
the improvement of his manner; on the contrary, in his life of Raffaelle,
he says, “ although he had seen so many monuments of antiquity in that city,
and studied so unremittingly, still his figures, up to this period, did not
possess that breadth and majesty which they afterwards exhibited. For it
happened that the breach between Michael Angelo and the Pope occurred
about this time, and compelled Buonarotti to flee to Florence; from which
circumstance, Bramante obtaining possession of the keys of the chapel,
exhibited it to his friend Raffaelle, in order that he might make himself
acquainted with the style of Michael Angelo;” and he then proceeds to mention
the Isaiah of S. Agostino, and the 'Sibyls della Pace, painted after this period,
and the Heliodorus. In the life of Michael Angelo, he again informs us
of the quarrel which obliged him to depart from Rome, and proceeds to say,
that when; on his return, he had finished one half of the work, the Pope
I 2
MEMOIR OF RAFFAELLE.
suddenly commanded it to be exposed; whereupon Raffaelle, who possessed
great facility of imitation, immediately changed his style, and, at one effort,
designed the Prophets and Sibils della Pace.” This brings us to a dispute,
prosecuted with the greatest warmth, both in Italy and other countries.
Bellori attacked Vasari in a violent manner, in a work entitled, “ Se Raffaello
ingrandi e migliorò la maniera per aver vedute le opere di Michel Angiolo.”
(Whether Raffaelle enlarged and improved his style on seeing the works of
Michael Angelo). Crespi replied to him in three letters, inserted in the
Lettere Pittoriche, and many other disputants have arisen and stated fresh
arguments.
It was greatly to the advantage of Michael Angelo's fame to have had
two scholars, who, while he was yet living, and after the death of Raffaelle,
employed themselves in writing his life; and a great misfortune to Raffaelle
not to have been commemorated in the same manner. If he had survived
to the time when Vasari and Condivi wrote, he would not have passed over
their charges in silence. Raffaelle would then have easily proved, that when
Buonarotti fled to Florence, in 1506, he himself was not in Rome, nor was he
called thither until two years afterwards; and that he could not, therefore, have
obtained a furtive glance of the Sistine Chapel. It would have been proved, too,
that from the year 1508, when Michael Angelo had, perhaps, not commenced his
work, until 1511, in which year he exhibited the first half of it, Raffaelle had been
endeavouring to enlarge his style; and as Michael Angelo had before studied
the Torso of the Belvidere, so Raffaelle also formed himself on this and other
marbles. He might, too, have asked Vasari, in what he considered grandeur
and majesty of style to consist; and from the example of the Greeks, and
from reason herself, he might have informed him, that the grand does not
consist in the enlargement of the muscles, or in an extravagance of attitude,
but in adopting, as Mengs has observed, the noblest, and neglecting the
inferior and meaner parts; and exercising the higher powers of invention ;
adding, that he elevated his style by propriety of character, and the study of
Grecian art. The Greeks observed an essential difference between common
men and heroes, and again between their heroes and their gods; and Raffaellc,
after having represented philosophers immersed in human doubts, might wel
elevate his style when he came to figure a prophet meditating the revelations
of God. All this might have been advanced by Raffaelle, in order to relieve
Bramante and himself from so ill-supported an imputation. As to the rest, I
believe he never would have denied that the works of Michael Angelo had
}
1
MEMOIR OF RAFFAELLE.
13
inspired him with a more daring spirit of design, and that in the exhibition
of strong character he had sometimes even imitated him. But how imitated
him? In rendering, as Crespi himself observes, that very style more beautiful
and more majestic. It is indeed a great triumph to the admirers of Raffaelle
to be able to say, whoever wishes to see what is wanting in the Sibyls
of Michael Angelo, let him inspect those of Raffaelle; and let him view the
Isaiah of Raffaelle who would know what is wanting in the Prophets of
Michael Angelo.
After public curiosity was gratified, and Raffaelle had obtained a glimpse
of this new style, Buonarotti closed the doors, and hastened to finish the
other half of his work, which was completed at the close of 1512, so that
the Pope, on the solemnization of the Feast of Christmas, was enabled to
perform mass in the Sistine chapel. In the course of this year, Raffaelle was
employed in the second chamber on the subject of Heliodorus driven from
the Temple by the prayers of Onias, the high priest, one of the most
celebrated pictures of the place. In this painting, the armed vision that
appears to Heliodorus, scatters lightnings from his hand.
In the numerous
bands, some of which are plundering the riches of the Temple, and others
are ignorant of the cause of the surprise and terror exhibited in Heliodorus,
consternation, amazement, joy, abasement, and a host of passions, are ex-
pressed. In this work, and in others in these chambers, Raffaelle, says
Mengs, gave to painting all the augmentation it could receive after Michael
Angelo. In this picture he introduced the portrait of Julius II., whose zeal.
and authority are represented in Onias. He appears in a litter borne by
his grooms, in a manner in which he was accustomed to repair to the
Vatican, to view this work.
. Miracle of Bolsena" was also painted in
the lifetime of Julius.
The remaining decorations of these chambers were all illustrative of the
history of Leo X., whose imprisonment in Ravenna, and subsequent libera-
tion, are typified by St. Peter released from prison by the angel.
in this piece that the painter exhibited an astonishing proof of his know-
ledge of light. The figures of the soldiers, who stand without the prison,
are illuminated by the beams of the moon : there is a torch which produces
a second light; and from the angel emanates a celestial splendour that
rivals the beams of the sun. He has here, too, afforded another proof how
art may convert the impediments thrown in her way to her own advantage ;
for the place where he was painting being broken by a window, he has
.
The "
It was
с
4
14
MEMOIR OF RAFFAELLE.
imagined on each side of it a staircase, which affords an ascent to the
prison, and
on the steps he has placed the guards overpowered with
sleep; so that the painter does not seem to have accommodated himself to the
place, but the place to have become subservient to the painter.
The com-
position of S. Leo the Great, who checks Attila at the head of his army, and
that of the other chamber, the battle with the Saracens in the port of
Ostium, and the victory obtained by S. Leo IV., justify Raffaelle's claim to
the epic crown; so powerfully has he depicted the military array of men and
horses, the arms peculiar to each nation, the fury of the combat, the despair
and humiliation of the prisoners. Near this performance is the wonderful
piece of the Incendio di Borgo, which is miraculously extinguished by the
same S. Leo.
This wonderful piece alternately chills the heart with terror, or
warms it with compassion. The calamity of fire is carried to its extreme
point, as it is the hour of midnight, and the fire, which already occupies a
considerable space, is increased by a violent wind, which agitates the flames
that leap with rapidity from house to house. The affright and misery of the
inhabitants are also carried to the utmost extremity. Some rush forward with
water, are driven back by the scorching flames; others seek safety in flight,
with naked feet, robeless, and with dishevelled hair; women are seen turning
an imploring look to the pontiff; mothers, whose own terrors are absorbed in
fear for their offspring; and here a youth, who bearing on his shoulders
his aged and infirm sire, and sinking beneath the weight, collects his almost
exhausted strength to place him out of danger. The concluding subjects
refer to Leo III.; the Coronation of Charlemagne, by the hand of that pontiff,
and the Oath taken by the Pope on the Holy Evangelists, to exculpate himself
from the calumnies laid to his charge. In Leo, is meant to be represented
Leo X., who is thus honoured in the persons of his predecessors; and in
Charlemagne is represented Francis I., King of France. Many persons of the age
are also figured in the surrounding group, so that there is not an historical
subject in these chambers that does not contain the most accurate likenesses.
In this latter department also, Raffaelle may be said to have been transcendent.
His portraits have deceived even persons the most intimately acquainted with
the subjects of them. He painted a remarkable picture of Leo X., and on
one occasion the Cardinal Datary of that time found himself approaching it
with a bull, and pen and ink for the Pope's signature.
The six subjects which relate to Leo, elected in 1513, were finished in
1517. In the nine years which Raffaelle employed on these three chambers,
and also in the three following years, he made additional decorations to the
女 ​A
MEMOIR OF RAFFAELLE.
15
pontifical palace; he observed the style of ornament suitable to each part, and
thus made the Pope's residence a model of magnificence and taste for all
Europe. Few have adverted to this instance of his merit. He superintended
the new gallery of the palace, availing himself in part of the design of
Bramante, and in part improving on him. “He then made designs for the
stuccos, and the various subjects there painted, and also for the divisions, and
he then appointed Giovanni da Udine to finish the stuccos' and arabesques,
and Giulio Romano the figures.” The exposure of this gallery to the
inclemencies of the air has left little remaining besides the squalid grotesques ;
but those who saw it at an early period, when the unsullied splendour of the
gold, the pure white of the stuccos, the brilliancy of the colours, and the
newness of the marble, rendered every part of it beautiful and resplendent,
must have thought it a vision of paradise. The best which now remain are
the thirteen ceilings, in each of which are distributed four subjects from holy
writ, the first of which, the Creation of the World, Raffaelle executed with
his own hand as a model for the others, which were painted by his scholars,
and afterwards retouched and rendered uniform by himself, as
as was his
custom. I have seen copies of these in Rome, executed at great cost, and
with great fidelity, for Catherine, empress of Russia, under the direction of
Mr. Hunterberger, and from the effect which was produced by the freshness
of the colours, I could easily conceive how highly enchanting the originals
must have been. But their great value consisted in Raffaelle having enriched
them by his invention, expression, and design, and every one is agreed
that each subject is a school in itself. He was desirous of competing with
Michael Angelo, who had treated the same subject in the Sistine Chapel; and
of appealing to the public to judge whether or not he had equalled him.
Nor were the pavements, or the doors, or other interior works in the
palace of the Vatican, completed without his superintendence. He directed
the pavements to be formed of terra invetriata, an ancient invention of Luca
della Robia, which, having continued for many generations as a family secret,
was then in the hands of another Luca. Raffaelle invited him to Florence
to execute this vast work, employed him in the gallery, and in many of the
chambers, which he adorned with the arms of the Pope. For the couches
and other ornaments of the Camera di Segnatura he brought to Rome
Giovanni da Verona, who formed them of mosaic with the most beautiful
views. For the entablatures of the chambers, and for several of the windows
,
and doors, he engaged Giovanni Barile, a celebrated Florentine engraver of
gems. This work was executed in so masterly a manner, that Louis XIII.,
11
16
MEMOIR OF RAFFAELLE.
statues.
{
wishing to ornament the palace of the Louvre, had
of the Louvre, had all these intaglios
separately copied. The drawings of them were made by Poussin, and Mariette
boasted of having them in his collection. Nor was there any other work,
either of stone or marble, for which a design was required, which did not
come under the inspection of Raffaelle, and on which he did not impress his
taste, which was consummate also in the sister art of sculpture. A proof of
this is to be seen in the Jonah, in the church of the Madonna del Popolo,
in the Chigi chapel, which was executed by Lorenzetto under his direction,
and which Bottari says, may assume its place by the side of the Greek
Among his most remarkable works may be mentioned his designs
for the tapestry in the papal chapel, the subjects of which were from the lives
of the Evangelists, and the Acts of the Apostles. The cartoons for them
were both designed and coloured by Raffaelle; and after the tapestries
were finished in the Low Countries, the cartoons passed into England,
where they still remain.* In these tapestries the art attained its highest
pitch, nor has the world since beheld any thing to equal them in beauty.
They are exposed annually in the great portico of S. Peter, in the procession
of the Corpus Domini, and it is wonderful to behold the crowds that flock
to see them, and who ever regard them with fresh avidity and delight.
But all the works of Raffaelle would not have contributed to the extension
of art at that period beyond the meridian of Rome, if he had not succecded
in extending the fruits of his genius by the means of prints.
In the midst of such a variety of occupations, Raffaelle did not fail to
gratify the wishes of private individuals, desirous of having his designs for
buildings, in which branch of art he was highly celebrated, and also of
possessing his pictures. I need only to refer to the gallery of Agostini Chigi,
which he ornamented with his own hand with the well-known fable of
Galatea. He afterwards, with the assistance of his pupils, painted the
Marriage of Psyche, at the banquet of which he assembled all the heathen
deities, with such propriety of form, with their attendant symbols and genii,
that in these fabulous subjects he almost rivalled the Greeks. These pictures,
and those also of the chambers of the Vatican, were retouched by Maratta,
with incredible care; and the method he adopted, as described by Bellori,
may serve as a guide in similar cases. Raffaelle also painted many altar-
pieces, with saints generally introduced; as that of the Contesse at Foligno,
* Now in the South Kensington Museum.
$
MEMOIR OF RAFFAELLE.
17
where he introduced the chamberlain of the Pope, alive, rather than drawn
from the life; that for S. Giovanni in Monte, at Bologna, of S. Cecilia, who,
charmed to rapture by a celestial melody, forgets her musical instrument,
which falls neglected from her hands; that for Palermo, of Christ ascending
Mount Calvary, called della Spasimo, which, however much disparaged by
Cumberland for having been retouched, is a noble ornament of the royal
collection at Madrid; and the others at ' Naples and Piacenza, which are
mentioned by his biographers. He also painted S. Michael for the king of
France, and many other Holy Families and devotional subjects, which neither
Vasari nor his other biographers have fully enumerated.
But although the creation of these wonderful works was become a habit
in this great artist, still every part of his productions cannot be considered as
equally successful. It is known, that in the frescoes of the palace, and in the
Chigi gallery, he was censured in some naked figures for errors committed,
as Vasari says, by some of his school. Mengs, who varied his opinions at
different periods of his life, insinuates that Raffaelle for some time seemed to
slumber, and did not make those rapid strides in the art which might have
been expected from his genius. This was, probably, when Michael Angelo
was for some years absent from Rome; but when he returned, and heard
it reported that many persons considered the paintings of Raffaelle superior
to his in colour, of more beauty and grace in composition, and of a
corresponding excellence in design, whilst his works were said to possess none
of these qualities except the last, he was stimulated to avail himself of the
pencil of Fra Sebastiano, and at the same time supplied him with his own
designs. The most celebrated work which they produced in conjunction,
was a Transfiguration, in fresco, with a Flagellation, and other figures, in
a chapel of S. Peter in Montorio. Raffaelle being subsequently employed to
paint a picture for the Cardinal Giulio de' Medici, afterwards Clement VII.,
Sebastiano, in a sort of competition, painted another picture of the same size.
In the latter was represented the raising of Lazarus; in the former, with
the master's accustomed spirit of emulation, the Transfiguration.
" This is
a picture which combines,” says Mengs, more excellencies than any of the
previous works of Raffaelle. The expression in it is more exalted and more
refined, the chiaroscuro more correct, the perspective better understood, the
pencilling finer, and there is a greater variety in the drapery, more grace in
the heads, and more grandeur in the style.” It represents the mystery of the
Transfiguration of Christ on the summit of Mount Tabor. On the side of the
1
2
18
MEMOIR OF RAFFAELLE.
hill he has placed a band of his disciples, and with the happiest invention has
engaged them in an action conformable with their powers, and has thus formed
an episode not beyond the bounds of probability. A youth possessed is
presented to them, that they may expel the evil spirit that torments him; and
in the possessed, struggling with the presence of the demon, the confiding faith
of the father, the affliction of a beautiful and interesting female, and the
compassion visible in the countenances of the surrounding apostles, we are
presented with, perhaps, the most pathetic incident ever conceived. Yet this
part of the composition does not fix our regard so much as the principal
subject on the summit of the mountain. There the two prophets and the
three disciples are most admirably delineated, and the Saviour appears
enveloped in a glory emanating from the fountain of eternal light, and
surrounded by that chaste and celestial radiance that is reserved exclusively
for the eyes of the elect. The countenance of Christ, in which he has
developed all his combined ideas of majesty and beauty, may be considered
the masterpiece of Raffaelle, and seems to us the most sublime height to
which the genius of the artist, or even the art itself, was capable of aspiring.
After this effort he never resumed his pencil, as he was soon afterwards
suddenly seized with a mortal distemper, of which he died, in the bosom
of the church, on Good Friday (also the anniversary of his birthday), 1520,
aged thirty-seven years. His body reposed for some days in the chamber
where he was accustomed to paint, and over it was placed this noble picture
of the Transfiguration, previously to his mortal remains being transferred to
the church of the Rotonda for interment. There was not an artist that was
not moved to tears at this affecting sight. Raffaelle had always possessed
the power of engaging the affections of all with whom he was acquainted.
Respectful to his master, he obtained from the Pope an assurance, that his
works, in one of the ceilings of the Vatican, should remain unmolested ; just
towards his rivals, he expressed his gratitude to God that he had been
born in the days of Buonarotti; gracious towards his pupils, he loved them,
and intrusted them as his own sons; courteous even to strangers, he cheerfully
lent his aid to all who asked his advice; and in order to make designs for
others, or to direct them in their studies, he sometimes even neglected his
own work, being alike incapable of refusing or delaying his inestimable aid.
All these reflections forced themselves on the minds of the spectators, whose
eyes were at one moment directed to the view of his youthful remains,
and of those divine hands that had, in the imitation of her works, almost
F
MEMOIR OF RAFFAELLE.
19
in any
excelled nature herself; and at another moment, to the contemplation of this
his latest production, which appeared to exhibit the dawn of a
new and
wonderful style; and the painful reflection presented itself, that, with the life
of Raffaelle, the brightest prospects of art were thus suddenly obscured. The
Pope himself was deeply affected at his death, and requested Bembo to
compose the epitaph which is now read on his tomb; and his loss was
considered as a national calamity throughout all Italy.
Raffaelle is by common consent placed at the head of his art; not because
he excelled all others in every department of painting, but because no other
artist has ever possessed the various parts of the art united in so high a
degree. Lazzarini even asserts that he was guilty of errors, and that he
is only the first, because he did not commit so many as others.
He ought,
however, to have allowed that his defects would be excellences in
other artist, being nothing more in him than the neglect of that higher
degree of perfection to which he was capable of attaining. The art, indeed,
comprehends so many and such difficult parts, that no individual artist has
been alike distinguished in all; even Apelles was said to yield to Amphion
in disposition and harmony, to Asclepiadorus in proportion, and to Protogenes
in application.
The style of design of Raffaelle, as seen in those drawings, divested
of colours, which form the chief ornaments of cabinets, presents us, if we
may use the term, with the pure transcript of his imagination, and we stand
in amaze at the contours, grace, precision, diligence, and genius which they
exhibit. One of the most admired of his drawings I once saw in the gallery
of the duke of Modena, a most finished and superior specimen, uniting in
style all the invention of the best painters of Greece, and the execution of the
first artists of Italy. It has been made a question whether Raffaelle did
not yield to Michael Angelo in drawing; and Mengs himself confesses, that
he did as far as regards the anatomy of the muscles, and in strong expression,
in which he considers Raffaelle to have imitated Michael Angelo.
need not say with Vasari, that in order to prove that he understood the naked
figure as well as Michael Angelo, he appropriated to himself the designs of that
great master, On the contrary, in the figures of the two youths in the
Incendio di Borgo, criticised by Vasari, one of whom is in the act of leaping
from a wall to escape the flames, and the other is fleeing with his father
on his shoulders, he not only proved that he had a perfect knowledge of the
action of the muscles and the anatomy requisite for a painter, but prescribed
But we
20
MEMOIR OF RAFFAELLE.
1
the occasion when this style might be used without impropriety, as in figures
of a robust form engaged in violent action. He moreover commonly marked
the principal parts in the naked figure, and indicated the others after the
example of the better ancient masters, and where he wrought from his own
ideas, his execution was inost correct.
In chasteness of design, Raffaelle was by some placed on a level with the
Greeks, though this praise we must consider as extravagant. Agostino Caracci
commends him as a model of symmetry; and in that respect, more than
in any other, he approached the ancients; except, observes Mengs, in the
hands, which being rarely found perfect in the ancient statues, he had not an
equal opportunity of studying, and did not therefore design them so elegantly
as 'the other parts. He selected the beautiful from nature, and as Mariette
observes, whose collection was rich in his designs, he copied it with all its
imperfections, which he afterwards gradually corrected, as he proceeded with
his work. Above all things, he aimed at perfecting the heads, and from
a letter addressed to Castiglione on the Galatea of the Palazzo Chigi, or of the
Farnesina, he discovers how intent he was to select the best models of nature,
and to perfect them in his own mind. His own Fornarina assisted him
in this object. Her portrait, by Raffaelle's own hand, was formerly in the
Barberini palace, and it is repeated in many of his Madonnas, in the picture
of S. Cecilia, and in many female heads. Critics have often expressed a wish
that these heads had possessed a more dignified character, and in this respect
he was, perhaps, excelled by Guido Reni, and however engaging his children
may be, those of Titian are still more beautiful. His true empire was in the
heads of his men, which are portraits selected with judgment, and depicted with
a dignity proportioned to his subject. Vasari considers the air of these heads
superhuman, and calls on us to admire the expression of age in the patriarchs,
simplicity of life in the apostles, and constancy of faith in the martyrs; and
in Christ, in the Transfiguration, he says, there is a portion of the divine
essence itself transferred to his countenance, and made visible to mortal cyes.
This effect is the result of that quality that is called expression, and which,
in the drawing of Raffaelle, has attracted more admiration of late years than
formerly. There is not a movement of the soul, there is not a character of
passion known to the ancients, and capable of being expressed by art, 'that he
has not caught, expressed, and varied in a thousand different ways, and always
within the bounds of propriety. We have no tradition of his having, like
Da Vinci, frequented the public streets to seek for subjects for his pencil; and
.
MEMOIR OF RAFFAELLE.
21
his numerous pictures prove that he could not have devoted so much time to
this study, while his drawings clearly evince that he had not equal occasion
for such assistance. Nature, as I have before remarked, had endowed him
with an imagination which transported his mind to the scene of the event, either
fabulous or remote, in which he was engaged, and awoke in him the very same
emotions which the subjects of such story must themselves have experienced ;
and this vivid conception assisted him until he had designed his subject with
that distinctness which he had either observed in other countenances or found
in his own mind. This faculty, seldom found in poets, and still more rarely
in painters, no one possessed in a more eminent degree than Raffaelle. His
figures are passions personified; and' love, fear, hope, and desire, anger,
placability, humility, or pride, assume their places by turns as the subject
changes; and while the spectator regards the countenances, the air, and the
gestures of his figures, he forgets that they are the work of art, and is surprised
to find his own feelings excited, and himself an actor in the scene before him.
There is another delicacy of expression, and this is the gradation of the
passions, by which every one perceives whether they are in their commencement,
or at their height, or in their decline. Numbers have in vain sought to imitate
him ; his figures are governed by a sentiment of the mind, while those of
others, if we except Poussin and a very few more, seem the imitation of tragic
actors from the scenes. This is Raffaelle's chief excellence ; and he may justly
be denominated the painter of mind. If in this faculty be included all that is
difficult, philosophical, and sublime, who shall compete with him in the sove-
reignty of art?
Another quality which Raffaelle possessed in an eminent degree was grace,
a quality which may be said to confer an additional charm on beauty itself.
Something might, perhaps, be advantageously added to the forms of his children,
and other delicate figures which he represented, but nothing can add to their
gracefulness. His Madonnas enchant us, not because they possess the
perfect lineaments of the Medicean Venus, or of the celebrated daughter of
Niobe ; . but because the painter in their portraits, and in their expressive
smiles, has personified modesty, maternal love, purity of mind, and in a word,
.
In regard to the province of colour, Raffaelle must yield the palm to Titian
and Correggio, although he himself excelled Michael Angelo and many others.
His frescoes may rank with the first works of other schools in that line: not
so his pictures in oil. In the latter he availed himself of the sketches of Giulio,
4 *
grace itself.
D
>
>
22
MEMOIR OF RAFFAELLE.
01
I
B
which were composed with a degree of hardness and timidity; and though
finished by Raffaelle, they have frequently lost the lustre of his last touch.
This defect was not immediately apparent, and if Raffaelle's life had been
prolonged, he would have been aware of the injuries his pictures received from
the lapse of time, and would not have finished them in so light a manner. He
is, on this account, more admired in his first subject in the Vatican, painted
under Julius II., than in those he executed under Leo X., for being there
pressed by a multiplicity of business, and an idea of the importance of a grander
style, he became less rich and firm in his colouring. That, however, he excelled
in these respects is evinced by his portraits, when, not having an opportunity
of displaying his invention, composition, and beautiful style of design, he appears
ambitious to distinguish himself by his colouring. In this respect his two
portraits of Julius II. are truly admirable, the Medicean and the Corsinian :
that of Leo X. between the two cardinals; and above all, in the opinion of an
eminent judge, Renfesthein, that of Bindo Altoviti, in the possession of his noble
descendants at Florence, by many regarded as a portrait of Raffaelle himself.
The heads in his Transfiguration are esteemed the most perfect he ever painted,
and Mengs extols the colouring of them as eminently beautiful. If there be
any exception, it is in the complexion of the principal female, of a greyish tint,
as is often the case in his delicate figures; in which he is therefore considered
to excel less than in the heads of his men. Mengs has made many exceptions
to the chiaroscuro of Raffaelle, as compared with that of Correggio. We are
told that he disposed it with the aid of models of wax; and the relief of his
pictures, and the beautiful effect in his Heliodorus, and in the Transfiguration,
are ascribed to this mode of practice. To his perspective, too, he was most
attentive. De Piles found in some of his sketches the scale of proportion.
It is affirmed by Algarotti, that he did not attempt to foreshorten his figures
in ceilings. But to this opinion we may oppose the example we find in the
third arch of the gallery of the Vatican, where there is a perspective of small
columns, says Taja, imitated in that manner. It is true that in his larger
works he avoided it; and in order to preserve the appearance of nature, he
represented his pictures as painted on a tapestry, attached by means of a
running knot to the entablature of the room.
But all the great qualities which we have enumerated would not have
procured for Raffaelle such extraordinary celebrity if he had not possessed
a wonderful felicity in the invention and disposition of his subjects, indeed his
highest merit. It may with truth be said, that in aid of this object he availed
-
MEMOIR OF RAFFAELLE.
TEM
+
23
himself of every example, ancient and modern; and that these two requisites
have not since been so united in any other artist. It is here that the genius
of Raffaelle triumphs. He embraces the whole subject. From a thousand
circumstances he selects those alone which can interest us; he arranges the
actors in the most expressive manner; he invents the most novel modes of
conveying much meaning by few touches; and numberless minute circumstances,
all uniting in one purpose, render the story not only intelligible, but palpable.
Various writers have adduced in example the S. Paul at Lystra, which is to be
seen in one of the tapestries of the Vatican. The artist has there represented the
sacrifice prepared for him and S. Barnabas his companion, as to two gods, for
having restored a lame man to the use of his limbs. The altar, the attendants,
the victims, the musicians, and the axe, sufficiently indicate the intentions
of the Lystrians. S. Paul, who is in the act of tearing his robe, shews that
he rejects and abhors the sacrilegious honours, and is endeavouring to dissuade
the populace from persisting in them. But all this were vain, if it had not
indicated the miracle which had just happened, and given rise to the event.
Raffaelle added to the group the lame man restored to the use of his limbs,
now easily recognized again by all the spectators. He stands before the
apostles rejoicing in his restoration; and raises his hands in transport towards
his benefactors, while at his feet lie the crutches which had recently supported
him, now cast away as useless. This had been sufficient for any other artist;
but Raffaelle, who wished to carry reality to the utmost point, has added
a throng of people, who, in their eager curiosity, remove the garment of
the man, to behold his limbs restored to their former state. Raffaelle abounds
with examples like these, and he may be compared to some of the classical
writers, who afford the more matter for reflection the more they are studied.
Other things might contribute to the beauty of his works, as unity,
sublimity, costume, and erudition ; for which it is sufficient to refer to those
delightful poetical pieces, with which he adorned the gallery of Leo X., and
which were engraved by Lanfranco and Badalocchi, and are called the Bible of
Raffaelle. In the Return of Jacob, who does not immediately discover, in the
number 'and variety of domestic animals, the multitude of servants, and the
women carrying with them their children, a patriarchal family migrating from
a long possessed abode into a new territory? In the Creation of the World,
where the Deity stretches out his arms, and with one hand calls forth the sun,
and with the other the moon, do we not see a grandeur, which, with the
simplest expression, awakes in us the most sublime ideas? In point of erudition
24
MEMOIR OF RAFFAELLE.
it is sufficient to notice the Triumph of David, which Taja describes and
compares with the ancient bassi-relievi, and is inclined to believe that there is
not any thing in marble that excels the art and skill of this picture.
In composition also he is at the head of his art. In every picture the
principal figure is obvious to the spectator; we have no occasion to inquire for
it; the groups, divided by situation, are united in the principal action; the
contrast is not dictated by affectation, but by truth and propriety; a figure
absorbed in thought, often serves as a relief to another that acts and speaks ;
the masses of light and shade are not arbitrarily poised, but are in the most
select imitation of nature; all is art, but all is consummate skill and concealment
of art. The School of Athens, as it is called, in the Vatican, is in this
respect amongst the most wonderful compositions in the world.
They who
succeeded Raffaelle, and followed other principles, have afforded more pleasure
to the eye, but have not given such satisfaction to the mind.
We have thus concisely stated the perfection to which Raffaelle carried his
art, in the short space allotted him. There is not a work in nature or
art where he has not practically illustrated his own axiom, as handed down
to us by Federigo Zuccaro, that things must be represented, not as they are,
but as they ought to be; the country, the elements, animals, buildings, every
age of man, every condition of life, every affection, all was embraced and
rendered more beautiful by the divine genius of Raffaelle. And if his life had
been prolonged to a more advanced period, without approaching the term
allowed to Titian or Michael Angelo, who shall say to what height of perfection
he might not have carried his favourite art?
A

wotype.
Raphael Morghen sculp.
THE MADONNA WITH THE GOLDFINCH.
BY RAFFAELLE
OF
SICH
VE
SY
THE MADONNA WITH THE GOLDFINCH.
IN THE TRIBUNE OF THE UFFIZJ, FLORENCE.
FROM THE ENGRAVING BY RAPHAEL MORGHEN.
ser
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.
Vasari tells us that Raffaelle painted this charming Madonna for the
Florentine, Lorenzo Nasi, and that when his house fell to the ground, in 1547,
the painting was broken. It was afterwards restored.
A valuable copy of this picture, which was formerly in the Monastery of
Vallombrossa, is now in the Academy at Florence.-- Passavant.
Another copy, probably by Raffaelle himself, may be seen in the Raffaelle
Gallery in the South Kensington Museum.
A
>
TA
.

STE MARGUERITE
SAINT MARGUERITE
UNID
OF
SAINT MARGUERITE.
IN THE LOUVRE, PARIS.
FROM THE ENGRAVING BY DESNOYERS.
BAN
JAINT MARGARET, who resisted the temptations of the world by
the
power of faith, has always been represented as conquering
a dragon
In this picture we see a female figure of great beauty advancing
towards a frightful monster, which rolls at her feet; she holds the palm
branch of Martyrdom in one hand and in the other the mantle which covers her
shoulders. The background is a hill covered with trees.
St. Margaret" Mild Margarete that was God's maid ”-was born in the
third century. She was the daughter of a priest of Antioch named Theodosius;
and in her infancy, being of feeble health, was sent to a nurse in the
country This woman, who was secretly a Christian, brought up the child in
the true faith ; and the legend runs that Margaret, while employed in watching
her nurse's sheep, meditated on the mysteries of the Gospel, and resolved to
devote herself to the service of Christ. One day Olybrius the Governor of
Antioch, struck with her beauty, commanded that she should be brought to
his palace, intending to make her his wife. Margaret rejected his offers, and,
after much persecution, perished, a victim to her religious zeal, at Antioch,
where she was beheaded.
3 1
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3
Destors SC
THE MADONNA
WITH THE DIADEM.
BY RAFFAELLE
OS
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:
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va
THE MADONNA WITH THE DIADEM.
IN THE LOUVRE, AT PARIS.
FROM THE ENGRAVING BY DESNOYERS.
SK
HE Virgin, her head adorned with a blue diadem, is crouching
before the Infant Jesus, who is lying asleep on
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 figures,
and beyond, a town. This picture is often called “ Le Sommeil de Jésus.'
There is a remarkable story told concerning this painting. 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
It is one of the gems of
artist that no trace of the joining can now be seen.
the Louvre. Passavant.
*

Ć
*****
:
THE MADONNA DELLA
CASA D'ALBA
BY RAFFAELLE
OF
ICHJ
架 ​RRG
3
a
THE MADONNA DELLA CASA D'ALBA.
IN THE VIERMITAGE, AT ST. PETERSBURGH.
FROM THE ENGRAVING BY DESNOYERS.
HE Virgin, seated upon the ground amidst a beautiful landscape, is
holding her Divine Child upon her knee. In her left hand she
BORA has a book which lies upon her lap. St. John, in adoration, is
presenting a little cross to the 'Infant Jesus.
1
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.
1
$

A
Anot par
SAINT
CECILIA
P
110
ST. CECILIA.
IN THE MUSEUM, AT BOLOGNA.
FROM THE ENGRAVING BY RAFFAELLE MASSARD. .
ST. CECILIA, her eyes turned towards heaven, is listening to the
celestial songs of 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 brilliancy by successive restorations.-Passavant.
1

CH
rand
THE MADONNA DELLA SEDIA.
IN THE PITTI PALACE, FLORENCE.
FROM THE ENGRAVING BY GARAVAGLIA.
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 (sedia) in which the Virgin is seated, gives the name to
the picture.-- Passavant. .
4
1

VW
UN
THE MADONNA DEL PESCE.
BY RAFAELLE
OS
CH
Pem
Hu
THE MADONNA DEL PESCE.
IN THE ESCURIAL, MADRID.
FROM THE ENGRAVING BY DESNOYERS.
ora
HE Virgin, seated on a throne, is holding on her knee the Infant
SK
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 from a book.
A large curtain forms the background.
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 Virgin, the goodness and serenity of
the Infant Jesus, the timid expression of Tobias, or the manly dignity of St.
Jerome.—Passavant.
ta

THE MAINONNA WITH THE CANDELABRUM,
WY RIFLIELLE .
OF
ICH
Camera
NO
a
THE MADONNA WITH THE CANDELABRUM.
IN THE MUNRO COLLECTION.
FROM THE ENGRAVING BY A. BRIDOUX.
Y
$13
HE Virgin, holding the Infant Jesus upon her knees, turns her
head so that her full face is seen; her eyes are lowered in
deep thought.
She wears a striped head-dress which falls upon
her shoulders. The Child, who is looking out of the picture, plays with
the bosom of his mother's dress. To the Virgin's left hand stands a
Candelabrum, upon which is a lighted torch, emblematical of “Christ the
Light of the World.”
.
{ I
This picture was formerly in the possession of Lucien Buonaparte, and
now belongs to Mr. Munro of Novar.
܀

OF
UITOE PUTETUL SI
31. RIFFAELLE
Cameron
10
POPE JULIUS II.
FROM THE ENGRAVING BY J. DELFINI.
HE Pope, his head turned to the left, is seated in an easy chair,
on which he is resting his arms, and in his left hand, ornamented
with three large rings, he holds a handkerchief.
He is in deep meditation, with his eyes fixed on the ground. He wears
a crimson velvet cap. His long white beard falls on his breast.
In all probability Raffaelle painted this portrait for the Pope himself,
who presented it to the church of Santa Maria del Popolo at Rome; at all
events, it was found there in the time of Vasari. On grand festivals this
picture was exposed to the public gaze with the Madonna di Loretto, by
the same painter.
It is not known how this portrait afterwards became the property of the
Medicis family.- Passavant.
f
*

THE MADONNA DELLA TENDA.
DY RAFFAELLE .
UNIL
OS
'CH
THE MADONNA DELLA TENDA.
IN THE PINACOTHECA, MUNICH
FROM THE ENGRAVING BY TOSCHI.
:
HE Virgin is seated with her face in profile, and embraces with
her right arm the Infant Jesus, who is seated on
is seated on her lap.
He is turning his head and seems to be listening 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.
There is a well-known copy of this painting-probably by Raffaelle
himself—in the possession of the King of Italy.
.

&
TIITE ARCHANGEL ST. MICHALT.
BY RAFFAELLE
OF
ICH
.
THE ARCHANGEL ST. MICHAEL.
IN THE LOUVRE, PARIS.
FROM THE ENGRAVING BY A. TARDIEU.
T. MICHAEL, who has descended from heaven in rapid 'flight,
has alighted upon Satan, who, crushed to the earth, dares no
longer oppose his diabolical fury to the Divine Omnipotence.
The Archangel, with outspread wings, holds with both his hands a spear, which
he is raising to strike his adversary: he has on a tunic and a cuirass covered
with golden scales; his sword hangs from a belt, his legs are bare, and his
feet shod with sandals. Red and blue fire escape from the crevices of the
ground. Rocky scenery, with the sea in the distance, forms the background.
In the figure of St. Michael, Raffaelle seems to have wished to express the idea
of strength and youth. On the edge of the blue garment of the Archangel is
written, " RAPHAEL . VRBINAS . PINGEBAT. M.D.XVII.”
Raffaelle painted this picture for Lorenzo de' Medici, who gave it to
Francis I. of France. Passavant.
等
​
mu
TE MADONNA DI SAN SISTO
Sora
톱
​RE
THE MADONNA DI SAN SISTO.
IN THE DRESDEN GALLERY.
FROM THE ENGRAVING BY MÜLLER.
BE
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 Raphael in his later years, inasmuch as, according to all evidence, it was
painted entirely by his own hands;
nds; for each touch
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.
1

THE
MADONNA DI FULIGNO,
BY RAFFAELLE
0E
!)
THE MADONNA DI FULIGNO.
- ?
IN THE VATICAN, AT ROME.
FROM THE ENGRAVING BY DESNOYERS.
MAS
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.

BY TRUFFIELLE .
SNIE
OF
$
GALATE A.
IN THE FARNESINA PALACE, AT ROME.
FROM THE ENGRAVING BY RICHOMME.
i
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 back-
ground, is another nymph, seated on a Triton. A third Triton, in front,
is sounding a trumpet. Three Cupids in the air are 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 called the Farnesina palace, where it
was undoubtedly painted by Raffaelle himself.---Passavant.
1
4
5

P
RAPHAEL
SANZIO
c
RAFFAELLE SANZIO D'URBINO,
BY RAFAELLE
OP
RAFFAELLE SANZIO D'URBINO.
IN THE GALLERY OF
PAINTERS PORTRAITS, FLORENCE.
FROM THE ENGRAVING BY DESNOYERS.
YT is
T is believed that Raffaelle made this portrait in 1506, in order
that he might leave it as a souvenir to his parents in his native
town. At all events it remained at Urbino until it was transferred
to the Academy of St. Luke, at Rome. The Academy sold this portrait, with
some other pictures, to Cardinal Leopold de Medici, since which time it has
remained in the collection of portraits of painters, all painted by themselves, in
the Gallery at Florence.
t
$
1
4 &

S-Den
NS
THE MADONNA WITH THE ROSE.
BY RAFFAELLE
ས་ལ
t
THE MADONNA WITH THE ROSE.
IN THE MADRID MUSEUM.
FROM THE ENGRAVING BY F. FORSTER.
HE Virgin, seated upon a bank, holds on her lap the Infant Jesus,
who is taking in his hands a scroll inscribed “ECCE AGNUS DEI,
which St. John is presenting to him. In the background behind
is St. Joseph beneath an arch.
At the bottom of the painting, which has been enlarged some inches, is
a rose, which was added* when the picture was restored, and which gives it
its name.
The beauty of the drawing, especially of the head of the Virgin, and the
lively faces of the children, prove this work to be the genuine production of
Raffaelle's own hands.
* This addition is not shown in the engraving.

g w)
7
2
SAINT CATHERINE OF
ALEXANDRIA
BY RAFFAELLE
(
CH
BE
Ke
ST.
CATHERINE OF ALEXANDRIA.
IN THE NATIONAL GALLERY.
FROM THE ENGRAVING BY DESNOYERS.
T. CATHERINE is seen resting her right hand on her breast, and
her left arm on a wheel, the instrument of her martyrdom. Her
公 ​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
RY
trees and houses.
1
This picture was formerly in the Aldobrandini Palace at Rome.
It after-
wards became the property of Mr. Beckford, from whom it was purchased for
the National Gallery.—Passavant.

LA BELLE JARDINIÈRE.
BY RAFFAELLE
奖 ​Ha
Bar
奖 ​P
th
>
LA
BELLE JARDINIÈRE.
IN THE LOUVRE, PARIS.
FROM THE ENGRAVING BY DESNOYERS.
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 believed that this picture was painted for a gentleman at Sienna,
before Raffaelle
Raffaelle was called' to Rome. It was afterwards purchased by
Francis I.- Passavant.
→
DK

THE MADONNA OF THE GRAND
THE GRAND DUKE OF TUSCANY ,
BY RAFFAELE
SNIE
CH
5
THE MADONNA OF THE GRAND DUKE
OF TUSCANY.
IN THE PITTI PALACE, FLORENCE.
FROM THE ENGRAVING BY E. E. SCHÄFFER.
HE Virgin, standing, carries on her left arm the Child Jesus; who,
SK
looking forward, rests his hand on his mother's breast.
This picture, although simply and slightly painted, is very charming. At
the end of the last century it was in the possession of a poor widow, who, not
knowing its value, sold it for a trifle; through the interposition of Puccini, then
superintendent of the Gallery at Florence, this Madonna became the property of
the Grand Duke of Tuscany, who, it is said, always carried it with him in his
travels; hence it derives its name.
$

TIL MADONNA ALDOBRANDINI.
RUFFIELLE
SW
THE MADONNA ALDOBRANDINI.
IN THE NATIONAL GALLERY.
FROM THE ENGRAVING BY BRIDOUX.
HE Virgin, seated upon a bench, is holding her mantle behind the
Infant Jesus, who leans against her breast, and offers 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
afterwards sold it to Lord Garvagh.-Passavant.
The painting was purchased for the National Gallery in the year 1865, for
the sum of £9,000.-Ed.
3 9015 00911 0043
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ET-T1197
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