**3)r \4,

M»*if5*rtiijTMui;Tfr«CTtttm!TrcT}^

"/ give theft Jioois. ¦-. .-
'¦ forth! founding cf a CelUgi in ihtf Colony"

• iLHiaisAJKy •

Gift of the Estate
of
Lucy Schwab White
1927

ILLUSTRATED "BIOGRAPHIES OF
THE GREAT Q4RTISTS.
RAFFAELLO SANZIO DA URBINO.

"A deserving Series, based upon recent German publications." — Edinburgh Review.
"Most thoroughly and ta?tefully edited." — Spectator.
ILLUSTRATED BIOGRAPHIES OF THE
GREAT ARTISTS.
Each volume is illustrated with from 12 to 20 full-page Engravings, printed in tbe
best manner, and bound in ornamental cloth cover, 3.?. 6d.
From a Review in The Spectator, July 5, 1879.
I( It is high time that some thorough and general acquaintance with tbe works _ of these
mighty painters should be spread abroad, and it is also curious to think how long their names
have occupied sacred niches in the world's heart, without the presence of much popular know
ledge about the collective work of their lives  If the present series of biographies,
which seems to be most thoroughly and tastefully edited, succeeds in responding to the wants
of modest, if ardent, art-knowledge, its aim will be accomplished."
The following Biographies are now ready .'—
LEONARDO. From recent researches in his MSS. at Windsor and South Kensington
Museum. By Dr. J. Paul Richter. With 16 Engravings.
THE FIGURE PAINTERS OF HOLLAND. By Lord Ronald Gower, Trustee of
National Portrait Gallery. With 16 Engravings.
HOGARTH. From recent researches. By Austin Dobson, Author of "Vignettes in
Rhyme." With 16 Engravings.
RUBENS. From recent authorities. By C. W. Kett, M.A., Hertford College, Oxford.
With 16 Engravings.
TURNER. From recent investigations. By Cosmo Monkhouse, Author of "Studies of
Sir E. Landseer." With 20 Engravings.
THE LITTLE MASTERS. From recent authorities. ByW. B. Scott, Autbor of " Lec
tures on Fine Arts." With 16 Engravings.
*#* An Edition de luxe, containing 14. extra plates from rare engravings in the Eritish
Museum, is also published. Bound in half morocco, Roxburghe style, price ios. 6d.
HOLBEIN. From the text of Dr. A. Woltmann. By Joseph Cundall, Author of " Life
and Genius of Rembrandt." With 20 Engravings.
TINTORETTO. From recent investigations at Venice. By W. Roscoe Osler, Autbor of
occasional Essays on Art. With 12 Engravings.
RAPHAEL. From the text of J. D. Passavant. By N. D'Anvers, Author of " Elemen
tary History of Art." With 20 Engravings.
VAN DYCK and HALS. From recent authorities. By Percy R. Head, Lincoln College,
Oxford. With 16 Engravings.
TITIAN. From the most recent authorities. By Richard Ford Heath, M.A., Hertford
College, Oxford. With 16 Engravings.
REMBRANDT. From the text of C. Vosmaer. By J. W. Mollett, B.A., Brasenose
College, Oxford, Officier de lTnstruction Publique (France). With 16 Engravings.
The Volumes preparing/or early publication are —
MICHELANGELO. From recent authorities. By Charles Clement, Author of :t Michel-
Ange, Leonard, et Raphael."
DELAROCHE and VERNET. From Charles Blanc. By J. Ruutz Rees, Author of
various Essays on Art.
LANDSEER. A Memoir, by Frederick G. Stephens, Author of " Flemish Relics," &c.
With 16 Illustrations.
GIOTTO. From recent investigations at Padua. By Harry Quilter, M.A., Trinity Col
lege, Cambridge. With Illustrations in colours.
REYNOLDS. From the most recent authorities. By F. S. Pulling, M.A., Exeter Col
lege, Oxford.
GAINSBOROUGH. From recent authorities. By G. M. Brock-Arnold, M.A., Hertford
College, Oxford. *#* Several other Volumes are in preparation.

RAFFAELLO SANZIO DA UEBINO.
[.ETAT : 23.]
From the painting by himself, in the Pitti Palace, Florence.

" The whole world without Art would be one great wilderness."
RAPHAEL BY N. D'ANVERS /&&llJtavu^
AUTHOR OF "THE ELEMENTARY HISTORY OF ART."

SECOND EDITION.
NEW YORK:
SCRIBNER AND WELFORD.
LONDON :
SAMPSON LOW, MARSTON, SEARLE, & RIVINGTON.
l88o.

PREFACE.
TO write the story of the life and works of Raffaello
Sanzio, the most renowned painter of the world, in
one small volume is no easy task. The records of his
personal history are painfully meagre, and though Vasari,
who published his celebrated book only thirty years after
the artist's death, has given us page after page of descrip
tion of the pictures which were even then considered the
marvels of the time, yet of the life of the great master who
painted them he has told us almost nothing.
But when we read the various histories of the sublime
works of the " divine artist " it is with a breathless interest ;
in every author who has written on Raphael there is the
same magnificent eulogy, the same boundless praise. "We
can but tell the story anew, and repeat the glowing
criticisms that have been so lavishly bestowed.
To Herr Passavant, who some years since almost ex
hausted the subject of Raphael's works, and to Dr. Anton
Springer, who has more recently examined them, most of
our information is due. We have but endeavoured to set
forth in plain language the results of a long and earnest
study of their much-Talued researches.
N. D'A.

CONTENTS. CHAPTER I.
Page
Boyhood and Early Studies— 1483 to 1505 .... 1
CHAPTER II.
Raphael at Florence, Urbino, and Perugia— 1506 to 1508 . . 13
CHAPTER III.
Frescos of the Stanza della Segnatura — 1509 to 1510 . . . 23
CHAPTER IV.
Raphael in Rome — 1511 to 1513  38
CHAPTER V.
Raphael as a Lover, a Friend, and an Architect— 1514 to 151C . 50
CHAPTER VI.
Frescos of the Stanza of the Incendio del Borgo — 1516 to 1517 . 61
CHAPTER VU.
Cartoons for the Tapestries — 1517 to 1518  71
CHAPTER VIII.
Last Works and Death— 1518 to 1520  88
Chronology of the Life of Raphael  101
Popes who lived at the time of Raphael  101
Classified List of Raphael's Paintings  102
Raphael's Drawings and Engravings  109
Index  110

LIST OF ILLUSTRATIONS. Pago
1. Portrait of Raphael  Frontispiece
2. Raphael's Birthplace. {From a sketch by Ingres) . . 2
3. Raphael's half-sister, Elizabetta  5
4. Lo Sposalizio  7
5. The Madonna del Gran Duca  10
6. La Belle Jardiniere  19
7. The Entombment . . ..... 20
8. Poetry. An Allegory ... ... 29
9. The School of Athens .... 32
10. Pope Julius II  38
11. Tho Madonna di Fuligno  40
12. The Holy Family of Naples  42
13. The Madonna with the Fish  54
14.- The Triumph of Galatea  56
15. Saint Cecilia  58
16. The Madonna della Tenda  70
17. The Miraculous Draught of Fishes. {Fromtlie Cartocn) 74
18. The Madonna della Sedia  82
19. TheHoly Family of 1518. In the Louvre . ... 84
20. Pope Leo X., with two Cardinals ..... 86
21. Farne.sina Palace, Decoration of the  91
22. The Battle of Constantine ... ... 95
23. The Transfiguration .... ... 98

BIBLIOGRAPHY.

List ofthe most important modern works cm Baphael.
RAFAEL VON URBINO UND SEIN VATER GIOVANNI
SANTI. Von J. D. Passavant. Leipzig, 1858.
 French Translation. By M. J. Lunteschutz, with Notes by M.
Paul Lecroix. Paris, 1860.
 English Translation. With Illustrations. London, 1872.
RAFFAEL UND MICHELANGELO. In " Kunst und KEnstlek."
Von Prof. Dr. Anton Springer. Leipzig, 1878.
RAFFAELLO AND MICHELANGELO, A Critical Account of the
Drawings by ; in the University Galleries, Oxford. By J. C. Robin
son. London, 1870.
RAPHAEL SANTI DA URBINO, The Works of. As represented in
the Raphael Collection in the Royal Library at Windsor Castle formed
by H.R.H. the Prince Consort, 1853 to 1861, and completed by H.M.
the Queen, 1876. [By Dr. Ruland.] Privately printed. A copy may
be seen in the Art Library at the South Kensington Museum.

RAPHAEL SANZIO. Par Charles Blanc.
de toutes les Ecoles." Paris, 1860.

In " Histoire des Peintres

RAPHAEL.

CHAPTER I.
BOYHOOD AND EARLY STUDIES.
1483 TO 1505.
RAPHAEL, one of the greatest of the wonderful
galaxy of master-spirits who in ¦ the fifteenth and
sixteenth centuries raised sacred art in Italy to that con
summate excellence which has challenged the admiration
of all succeeding ages, was born in the sequestered moun
tain village of Urbino, on the 6th April, 1483. The son
of Giovanni Santi, or Sanzio, an Umbrian painter of some
note, he imbibed the first principles of art in his earliest
childhood ; and tradition, ever busy with the boyhood of
great men, whispers that he took an actual part in many
paintings by his father which are now lost.
Little is, however, known with any certainty of the first
years of Raphael's ' life, though the house in which he is
supposed to have passed his boyhood is still shown at

His Italian name was Saffaello.
B

-Li_ C^cvC^v

^^^KMmimSiSF'

KAPHAEL'S BIBTIII'LACE IN STKADA DEL MONTE DRB1NO.
From a Sketch by Ingres, made on May 14, 1839.

BOYHOOD AND EARLY STUDIES. 3
Urbino. His mother Magia, a tender, large-hearted
woman, from whom the great genius inherited the warm
affections which won for him the love of all with whom
he was brought in contact, died when he was but eight
years old, and seven months later his father contracted a
second marriage with Bernandina di Parte, the daughter of
a goldsmith, who, though of an upright character, seems to
have been in every respect a contrast to the gentle Magia.
In some frescos by Giovanni Santi in the Tiranni chapel
at Cagli there is a portrait amongst the angel-faces of the
boy Raphael, giving promise in its ethereal spirituality of
that refined beauty which distinguished him throughout
his brief career. The names of Timoteo della Vite, Luca
Signorelli, and Fra Canesole are mentioned as those of
masters who instructed Raphael during his early days,
but he probably received no regular lessons until after the
death of his father, Giovanni, which took place in 1494, and
for a time overshadowed his young life with gloom.
Left to the guardianship of his stepmother and his uncle
Don Bartolommeo Santi, an ambitious priest,- Raphael ex
changed the calm atmosphere of his father's studio for one of
constant bickering and disputes, the rival authorities being
unable to agree as to the disposition of the Santi estates ;
but fortunately for himself and for the world a friend soon
rose up for the neglected boy, in the person of his mother's
brother, Simone di Ciarla, who sent him to Perugia to the
studio of Perugino,1 then at the zenith of his career.
Perugino, a distinguished member of the Umbrian
school, of which feeling for spiritual beauty was the chief
characteristic, was admirably fitted to be the instructor of
Pietro di Vanucci, of Perugia.

* RAPHAEL.
the young enthusiast for sacred art. He is said to have
recognized the genius of Raphael at once, and to have
exclaimed after looking over some of his drawings, "Let
him be my pupil; he will soon become my master."
Passavant and other authorities give the date of Raphael's
entry into Perugino's studio as 1495, whilst Dr. Springer
speaks of his having remained in his native village until
1499. In any case we find him working side by side with
Lo Spagna, Pinturicchio, Ferrari, and Alfani in 1500, and in
many of the large sacred pictures produced by Perugino in
the early years of the sixteenth century 4he hand of Raphael
is said to be very distinctly recognizable. His first inde
pendent picture is supposed to have been the ' Infant Jesus
and St. John,' after a larger work by his master, now in
the church of San Pietro at Perugia ; and the ' St, Martin
on Horseback,' now in the Stadel Institute. at Frankfort,
is one of the earliest of his original drawings extant.
After a brief period of happy work in Perugino's studio,
Raphael was recalled to Urbino by fresh family dissen
sions, which he was, however, fortunately able to bring
quickly to an amicable conclusion. Having settled a small
sum of money on his stepmother for the use of his little
half-sister Elisabetta, whose portrait it is believed he often
sketched in after years, he returned to Perugia, where he
was soon cheered by an invitation to Citta di Castello, from
Vitelli, who was head of the League which had recently
defeated the papal forces in the terrible civil war then de
solating the fair Umbrian Campagna.
Perugino was at this time absent on a visit to Florence
where he soon afterwards took up his abode, and his
pupil considered himself at liberty to accept Vitelli's invi
tation. Accompanied, says tradition, by several of his

Raphael's sister, elisabetta.
From a Drawing by Raphael.

b RAPHAEL.
fellow-students, he hastened to Citta di Castello, and there
produced the fine church banner in two parts — one repre
senting the 'Holy Trinity,' the other the 'Creation of Man '—
still preserved in the church of S. Trinita ; ' The Crucifixion,'
painted for the Gavari family, and now, after a romantic
series of vicissitudes, in the possession of Earl Dudley, and
the ' Coronation of St. Nicholas of Tolentino,' which formed
the altar-piece of S. Agostino at Citta di Castello, but is
now lost : in all of which, though the influence of Perugino
is very evident, the art-critics of the day could not fail to
recognize a combination of the formative and inventive
powers to which that master never attained.
Returned to Perugia after this pleasant excursion, Ra
phael assisted his master in the production of the great
frescos in the Sala del Cambio, in which the prophets,
sibyls, and many of the arabesques are supposed to be
entirely from his hand. . About the same time he produced
several fine original pictures, of which we may name, as
specially characteristic of this period of his career, the
exquisite little 'Madonna of Count Staffa,' still an heirloom
in the family for whose head it was painted; and the
'Vision ofa Knight,' one of the most valuable possessions
of the National Gallery- — supposed to embody in alle
gorical form the struggle between duty and pleasure which
was then agitating the soul of the artist himself.
To the same period belongs the large ' Coronation of tho
Virgin ' now in the Vatican, in which, though the twelve
apostles surrounding the Virgin's tomb are entirely in
Perugino's manner, the figures of Jesus and His mother
-and the- faces of the angels- lowering - about them, give
an earnest of the rapidly advancing genius of tho young
master.

THE 'SPOSALIZIO.' 7
About 1502 Perugino finally removed to Florence, on
account of the turbulent scenes disturbing the peace of
Perugia, and opinion is divided as to whether Raphael
accompanied him or not. Dr. Springer thinks that he main
tained his connection with his master for some little time
longer, though he did not work actually under his eye.
Whether from Perugia or Florence it is certam that he
paid a visit to Siena in 1503, where he greatly assisted his
friend Pinturicchio in the execution of a series of frescos
in the library of the cathedral ; several of his designs for
different portions of this great work now form some of the
most treasured art-relics of the Academy of Venice.
In 1504 Raphael ceased to be the pupil of Perugino,
and accepted a commission from the Franciscans of Citta
di Castello to paint a ' Sposalizio,' or ' Espousals of the
Virgin,' for their church. He had already assisted his
master in a work1 on the same subject for the cathedral of
Perugia, and he now reproduced in almost every detail
the original design — the position of some of the figures,
with the more scientific perspective, and the greater beauty
of form, alone marking the difference between the two
pictures. For this imitation Raphael has been somewhat
severely criticized, but it may possibly have been due to a
humility which shrank from attempting to strike out a
new line in a path already trodden by one to whom he
owed so much. The ' Sposalizio,' now in the Brera of
Milan, is almost unanimously considered the best example
of the young master's first, or Peruginesque style.
In the autumn of the same year (1504) Raphael re
turned to his native city, which was enjoying peace at last,
1 Perugino's ' Sposalizio ' is now in the gallery at Caen.

LA SPOSALIZIO (THE MAKRIAGE OF THE VIRGIN).
From the Painting by Raphael in the Brera, Milan.

FIRST VISIT TO FLORENCE. 9
after a long period of tumult and disaster. The iniqui-
tous reign of the Borgias was over, and Pius III., after
only twenty-six days of government, had been succeeded
by the wise and politic Julius IL, who restored the Duchy
of Urbino to its rightful Prince, Guidobaldo, long an
exile, stipulating only that it should pass on his death to
his own and the Duke's nephew, Francesco Maria della
Rovere. Kindly received by the Duke and Duchess, Raphael
spent some little time at their Court, producing several
copies of the fine portraits in the Ducal Library, and the
beautiful ' Christ in the Garden of Gethsemane,' now in the
possession of the Maitland family, in Sussex, iu which,
as in the ' Sposalizio,' he followed the general design of
Perugino, though he imbued it with a nobility of sentiment
entirely his own. The small ' St. George ' and ' St. Michael '
of the Louvre, both with the luminous colouring which
was now beginning to characterize everything from Ra
phael's hand, also date from this visit to Urbino.
Whilst Raphael was thus gradually rising into notice,
his great contemporary, Lionardo da Vinci, was producing
the masterpieces which were destined to exercise so im
portant an influence on his style. Florence was now the
capital of the art-world, and to Florence his friends urged
Raphael to repair. Provided with a letter of introduction
from the Duke of Urbino's sister, Joanna della Rovere, to
Pietro Soderini, Gonfalonier of Florence, the young painter
left his native city for that town at the close of 1504, and
was there eagerly welcomed alike by the artists and art-
patrons who had been attracted thither from all parts of
Italy. The masters whom Raphael chiefly studied in this visit

10 RAPHAEL.
to Florence were Masaccio * and Da Vinci. The works ot
the former, with their grand grouping" of figures and ad
mirable treatment of the human form, appear to have
revealed to the young artist the extent of his own powers
in a similar direction, whilst in those of the latter he found '
intensified the same feeling for spiritual beauty which was
already his own principal characteristic. All who know
what it is to recognize in the productions of others the
fulfilment of their own best and most secret aspirations
will comprehend the effect of the study of these two masters
on Raphael's development. He felt that he would him- •
self do all and more than all that had been accomplished
by them. In his earliest picture produced after his arrival :
at Florence we can distinctly trace the working of this
double influence. It is a Madonna, known as ' Del gran'
Duca,' now in the gallery at Florence, and with its finished1
drawing and noble and commanding expression it takes'
rank as one of the masterpieces of Raphael.
Other exquisite works dating from this period are the ,
' Madonna of the Terranuova family,' now in the Berlin
Museum, with a beautiful landscape background, one of
the first of the many which add so great a charm to Ra
phael's later ' Holy Families,' and the portrait of a young
man of the Riccio family, now in the Pinakothek of Munich,
in both of which the influence of Perugino, though still
perceptible, is all but effaced by that of the new objects of
Raphael's admiration.
In 1505 several commissions recalled Raphael to the;
scene of his early studies. He had, it appears, already
commenced a large altar-piece in three parts in Perugia

1 Tommaso Guidi, called Masaccio (the sloven).

THE MADONNA DELLA GRAN DUCA.
From the painting by Raphael, in the Pitti Palace, Florence.

THE ALTAR-PIECE OF ST. ANTONY. 11
for the monks of St. Antony of Padua, and the holy fathers
were impatient for its completion. Taking up the work
where he had laid it down so long ago, Raphael uncon
sciously left a record of his own art-development ; for many
of the figures, notably those of St. Peter and St. Paul,
are in the style of Perugino, whilst others, those of St.
Catherine and St. Dorothea for instance, in the central
picture, are in his later Florentine manner.
This altar-piece — which in its entirety included a central
group of the Virgin and Child with the saints mentioned
above, a lunette representing God the Father, and five
predella pictures, representing respectively ' Christ in the
Garden of Gethsemane,' ; Christ B.ea;?ing His Cross,' the
'Virgin Supporting a Dead Christ,' and ' Saints Francis
and Anthony of Padua — is now cut into seven pieces and
distributed in different continental and English galleries.
The ' Christ Bearing His Cross,' dwelt upon with special
admiration by Dr. Springer and other critics, is at Leigh
Court, Bristol.
The ' Madonna of the Ansidei family,' now in the posses
sion of the Duke of Marlborough, and painted, we believe,
immediately after the large altar-piece just described, is
entirely in the Florentine manner, though in its general
grouping we are still reminded of Perugino ; and in a
small picture, the ' Pax Vobis,' representing in half-length
the risen Christ, now at Brescia, we have yet another gem
dating from this time.
During Raphael's visit to Perugia he was commissioned
to decorate with frescos a lateral chapel of the church of
San Severo, belonging to the Camoldoli convent at Perugia,
and a brick is preserved in the Pinakothek at Munich, on
which hemade his first essay, in the form of a drawing of

12 RAPHAEL.
a ' Child's Head,' in this new branch of pictorial art in
which he was destined to attain to such exceptional excel
lence. The upper part of the fresco of San Severo repre
sents the meeting of sainted Camoldoli monks around the
Holy Trinity, and anticipates in some respects the more
famous ' Dispute of the Holy Sacrament.' It is treated in
a free and spirited manner, and already shows thorough
command of the new materials employed. The lower
portion was left unfinished by Raphael, who appears to
have been unable longer to absent himself from Florence,
and returned there in the autumn of 1505. The monks
long clung to a hope that the great master would come
back and finish his work; but when they heard of his early
death, in 1520, they commissioned Perugino to complete his
pupil's design, and the whole, though it has suffered a
good deal from decay, now affords a good opportunity alike
of comparing the style of master and pupil, and of noting
the advance made by Raphael since the commencement of
his career.

CHAPTER II
RAPHAEL AT FLOBENCE, URBINO, AND PERUGIA.
150G to 1508.
ON the return of Raphael to Florence, the art-world
was in a state of great excitement over the two
celebrated and rival cartoons by Lionardo da Vinci and
Michelangelo, some critics giving the palm to the 'Battle
cf the Standard ' by the former, others asserting the
' Bathers in the Arno * of the latter to be infinitely the
superior. Many were the eager discussions in which
Raphael took the lead held by the art-students of Flo
rence before the two great works, or in the studio of
Baccio d'Agnolo, the architect and sculptor in wood, who
appears to have been very popular with the young enthu
siasts of the day, gathering about him such men as Andrea
Sansovino, Filipino Lippi, Benedetto da Majano, Francesco
Granacci, and many others. Michelangelo himself some
times looked in upon the disputants, and we can well
imagine the quiet smile with which the great master would
listen to the opinions expressed on his own work, if indeed
his actual presence did not strike his admirers dumb.
Dr. Anton Springer is of opinion that although the
great cartoons of Da Vinci and Michelangelo exercised some

14 RAPHAEL.
little influence over Raphael at this period, it is to his
study of their minor works, such as their Madonnas, that
he owed the great advance he now made in colouring and
purity of outline. In the latter quality he always excelled
Da Vinci, in the former he was perhaps from the first his
rival, and we must therefore attribute his new force of
drawing almost entirely to the new revelations made to
him by Michelangelo.
Raphael's first work after his return to Florence was
the somewhat inferior portraits of 'Angelo Doni and Mad
dalena his wife,' in which we note no special advance.
The second, however, the celebrated ' Madonna del Cardel
lino,' or ' Virgin of the Goldfinch,' now in the Florence
Gallery, literally glows with genius, and although it has
suffered much from restoration, is still one of the world's
most precious heirlooms. It was followed up by the
' Madonna in the Meadow,' now in the Belvedere of Vienna,
and the 'Holy Family under the Palm-Tree,' now in the
Ellesmere Gallery, in which, to quote the words of Dr.
Springer, the "Virgin has become flesh" — the young mas
ter having so entirely grasped the beauty of her character
as to make it shine forth as a living reality from his
canvas. Early in 1506 Raphael paid a visit to Bologna, some say
on the invitation of Giovanni Bentivoglio, then lord of that
town ; others that he was attracted by the fame of Fran
cesco Francia, whose works were now much admired. In
any case, we know that a friendship sprung up between
the two great exponents of sacred art, and that each ex
ercised a considerable influence over the other, a notable
instance being the picture of the ' Marriage of St. Cathe
rine,' now in the possession of Mr. Gilmore of London, the

AT BOLOGNA AND URBINO. 15
general style and grouping in which is Raphael's, whilst
the execution is Francia's.
Whilst at Bologna Raphael painted a ' Nativity ' for
Bentivoglio, which has unfortunately been lost, leaving no
trace ; and he also added a head of St. Antony to an altar-
piece by Lorenzo Costa, one of Francia's most eminent
pupils, which is now at Brescia in the possession of Count
Teodoro Lechi.
From Bologna Raphael went once more to his native
town, where he found his old friend and patron, Guidobaldo,
presiding over a brilliant Court, including among its guests
Giuliano de' Medici, brother of the future Pope Leo X.,
Andrea Doria, the great Genoese Admiral, Count Baldas
sare Castiglione, the celebrated writer and diplomatist,
one of Raphael's most intimate friends, Pietro Bembo,
afterwards the famous secretary of Leo X., and many
others, all of whom accorded a ready welcome to the young
artist whose name was already becoming well known.
Thus far we have spoken only of the influence of one
or another member of his own craft on the genius of the
young Raphael. We now find him imbibing in the so
ciety of scholars and philosophers ideas on the eternal
verities of which art is but one of the expressions. Ani
mated discussions on poetical and literary subjects were
carried on in the presence of Raphael, between the en
thusiast Bembo and the learned Castiglione, and it is re
lated that on one occasion, when the former was holding
forth on the inspiring theme of love, he seemed to be lite
rally carried out of himself by his fervour, and was recalled
to earth by one of the ladies of the Court observing to him,
" Take care, Signor Pietro, that with such thoughts your
soul does not quit your body ; " to which he replied : " Sig-

16 RAPHAEL.
nora, it would not be the first miracle love has wrought in
me." Whilst sharing in such meetings as these, and treasuring
up a store of thought to be transmitted into future work,
Raphael did not altogether lay down the brush. From this
residence at Urbino dates the fine ' St. George on the White
Horse,' painted at the request of Guidobaldo, and sent by
him to England as a present for Henry VII., who had lately
invested him with the Orderof the Garter. The ' St. George,'
after many vicissitudes, is now in the Hermitage at St.
Petersburg, and is treated as a sacred object, with a lamp
ever burning before it.
Several portraits were also painted by Raphael during
this visit to Urbino, the most interesting of which is one of
himself, now in the Florence Gallery. In it, in spite of its
having suffered both from decay and restoration, we still
have an extremely touching likeness of the young genius,
who has represented himself three-quarter-faced, turning to
the right, and wearing a black cap.1 His long and luxuriant
chestnut hair falls in curls upon his well-shaped neck ; his
face is pale, his nose thin and slightly bent, his chin round
and rather long. His brown eyes look at the spectator with
the gentle melancholy of a noble nature, and the expression
of his finely-cut mouth is most fascinating.
Another treasure supposed to date from this period and
to have been painted by Raphael for some one at the Court
of Urbino is his first classical picture, the ' Three Graces,'
now in the possession of Earl Dudley. In it the figures
are grouped in the traditional antique style, but they are
treated with an original grandeur all their own, the drawing
1 See Frontispiece.

AT FLORENCE. 17
marking a considerable advance over the master's previous
works. Either just before or immediately after Raphael's* return
to Florence, Pope Julius II. passed through Urbino on his
way to quell an insurrection in Bologna. Whether the
pontiff made the acquaintance of the young master at this
time or not, he certainly heard of his fame and saw some
of his work, so that we may look upon this apparently
trivial incident as the cause of the choice of Raphael to
adorn the Vatican a few years later.
On his way back to Florence, Raphael stopped for a few
days at the mountain convent of Vallombrosa, and painted
the portraits of Don Blasio, the chief of the Order, and Don
Baldassare, one of the monks, both of which are now in the
Florence Gallery. These portraits, especially the latter,
are full of truth and power ; and in Don Baldassare's
earnest, thoughtful face we recognize a master-spirit. From
this time, in fact, to be painted by Raphael was to become
immortal, for he now began to display a skill in portraiture
rare amongst the exponents of sacred art in Italy, and sur
passed only by that of the later Titian. The men and women
whose likeness Raphael has painted become our personal
friends, and in the eyes of some of them we may " read stern
words of counsel " sending us "boldly to our task again."
Back once more in Florence after his inspiriting visit to
Urbino, Raphael painted the ' Holy Family of the Cani-
giani family,' now in the Pinacoteca of Milan, a fine picture
of pyramidal form which has unfortunately suffered greatly
from restoration and cleaning, and the small ' Holy Family '
with Jesus seated on a lamb, now in the Madrid Gallery,
remarkable for its delicate drawing and high finish. About
the same time, 1506, he produced that treasure of the
e c

18 RAPHAEL.
National Gallery, the ' St. Catherine of Alexandria,' a half-
length figure of the martyr, leaning with her left arm on
the wheel, the instrument of her death, and looking up to
heaven with a face full of devout enthusiasm.
All these small sacred pictures, however, beautiful and
valuable as they are, sink into insignificance before the
grand work now put in hand, in which the master has re
presented one of the " three great moments " in the passion
of our Lord: the so-called 'Tumalacio,' or ' Entombment,'
now in the Borghese palace, Rome, a composition instinct in
every line with reverent feeling and manifesting a severe
and profound study of the technicalities of art combined
with a power of expression and beauty of form such as had
never before been gathered up in one design by its gifted
author. Engravings, copies, even photographs fail to
give anything like an adequate idea of the charm of this
wonderful work, to which Dr. Springer devotes some five
pages of eulogium and which Passavant characterizes as
full of " living fire."
The 'Entombment' was executed for Donna Atalanta
Baglioni, for the church of the Franciscans at Perugia.
The cartoon for it — now unfortunately lost — was made at
Florence under the immediate influence of Michelangelo
and Da Vinci, and in its general design is a reproduction
of Mantegna's celebrated picture on the same subject. The
cartoon completed, Raphael went to Perugia to reproduce
it in colours, and tradition says that he now for the first
time put in practice certain lessons in new modes of
colouring, arrangements of drapery and systematic grouping
which had been given to him by Fra Bartolommeo, the
artist-monk whom he had himself won back to the world
from his mistaken renunciation of his true vocation.

THE ENTOMBMENT.
From the painting by Raphael, in the Borghese Palace.

THE 'ENTOMBMENT.' 19
In the ' Entombment ' two young men are bearing the
dead Christ to His grave in a sheet. The elder of the two
walks backwards and is about to ascend the steps leading
to the sepulchre ; the younger, seen in profile, supports the
legs of the Lord. Mary Magdalene, grief and horror in
her face, seizes her dead Master's left hand, Joseph of
Arimathea and St. John stand by in attitudes of the
deepest dejection, and on the right we are conscious of the
crowning touch of pathos, in the group of three women
supporting the fainting Virgin.
As usual in his altar-pieces Raphael has added a lunette
and a predella to the main design. The former, representing
a half-length figure of God the Father, is still in the church
for which it was painted at Perugia. The latter, now in the
Vatican, contains in three compartments allegorical figures
of Faith, Hope, and Charity.
Having completed the ' Entombment ' at Perugia,
Raphael is supposed to have returned to Florence, now
deserted by Michelangelo and Da Vinci, though their
absence was in some slight measure atoned for by the
presence of the young master's new friend, Fra Barto
lommeo. In the few Madonnas now produced, Dr. Springer
says the influence of the monk is very marked, and in
stances especially as a proof of his theory the 'Madonna del
Baldacchino,' begun but never finished for the chapel ofthe
Dei family in the chur.ch of San Spirito at Florence. We
may name as works ofthe same year produced under similar
conditions the exquisite Madonna known as the ' Belle Jar
diniere ' in the Louvre, remarkable for the intense and vivid
realization of the highest ideal of maternity, the mother's
face being full of indescribable beauty ; and the ' Madonna
di Casa Colonna,' in the Berlin Museum, also unfinished,

' LA BELLE JARDINIERE.'
From the Painting by Raphael, in the Louvre.

a/risjirrw tmcmto patyl

, Cr J 6 r ,, , 7/r.5.
o L/avJe $>o rtkeso U nurte del noshro
'~U«< £*ydx lie c£i nis«ic*r&*' tLnm*
e certo JptvU* sev^cvUct^me leocre t^^U^
¦moU Jy'Mn.s'ujik ctauello no i> e Tvmro Usooma/
enure fa&ent iis eacorlcMSi con (auclcivt^ decUi/

Simone de
' P arils iv ^A (liwU- «d °Vr >-

J Vi

1WW

t vncstrc rownctiilo dip into
^f. n J J
t More J ay

rt

de apriLe-ai,. D. ym
Facsimile ofa Letter from Raphael to his Uncle, Simone di Ciarla.

22 RAPHAEL.
but perhaps all the more valuable on that account,
showing as it does how entirely the master's completed
thought was embodied in the first touches from his
hand. In 1508 Raphael, then in his twenty-fifth year, wrote
to the friend of his boyhood, his uncle Simone di Ciarla,
telling him of his earnest wish to obtain a commission of
importance in Florence, and asking him to help him with
a letter of recommendation to the Gonfalonier. Better
things than this were, however, in store for him, for before
the letter came, or at least before Raphael made use of it,
he received the invitation to Rome from Pope Julius II.
which formed the turning-point in his career. We give a
facsimile of part of a letter from Raphael to his uncle,
which we believe to date from about this time.

CHAPTER III.

feescos of the stanza della segnatura.
1509 to 1510.
VASARI is of opinion that Raphael owed his invitation
to Rome to Bramante, a distant relative of his own,
then holding the appointment of architect to the Pope ; but
it will be remembered that the powers of the young genius
were already known to Julius IL, who probably himself
recognized in him the best man to carry out the decora
tion of the grand suite of apartments in the Vatican, des
tined to immortalize the temporal and spiritual power of
the papacy.
On Raphael's arrival in the capital of the art-world,
many of the great works set on foot by Julius II. were
already in progress. The tomb, never finished, which he
intended to be a lasting monument of his own determined
character, had been begun by Michelangelo ; the old basilica
of St. Peter was being replaced by the magnificent building
after the designs of Bramante, which is now the greatest
cathedral of Christendom ; and the vast project, first con
ceived by Nicholas V., of enlarging the Vatican into a
pontifical city capable of lodging all the dignitaries of the
Church, was being at last put into execution.

24 RAPHAEL.
Disgusted with the degradation brought upon the pon
tifical office by the wild career of his predecessor, Alex
ander VI., Julius II. declined to inhabit any of the apart
ments used by him, declaring that even if every trace of
his hateful existence were removed, the walls themselves
would remind him of "that Simoniac, that Jew." He
decided rather to live in the rooms in the upper storey
which had already, under Nicholas V. and Sixtus IV, been
partially decorated by Piero della Francesca, Bramantino
da Milano, Luca Signorelli, Bartolommeo della Gatta, and
Pietro Perugino. The walls of three stanze, or rooms,
and of the gallery or corridor leading to them from the
staircase and consisting of thirteen compartments or loggie,
with small cupolas, were, however, still almost bare of
ornament, and to Raphael was entrusted the task of sup
plying the deficiency.
The great master began his work in the Stanza della
Segnatura, and in the wonderful series of designs which
emanated as it were without effort from his mind the whole
intellectual world recognized a depth of spiritual meaning
absolutely unsurpassed, until a little later Michelangelo
produced the ' Last Judgment ' of the Sistine Chapel. It
has been urged that the subjects chosen by Raphael were
already common in Italy, and that the germ of his ' School
of Athens,' of his ' Dispute on the Holy Sacrament,' and
of many other of his finest conceptions had been called into
life by another of his predecessors. -'Moreover, Dr. Springer,
whose extended researches entitle him to the highest re
spect, is of opinion that the assistance of some older man,
some earnest and imaginative thinker endowed with great
knowledge and an experience of the world to which no
artist of five-and-twenty, however gifted, could possibly

FRESCOS OF STANZA DELLA SEGNATURA. 25
have attained, must have been given to Raphael in the com
position of this poem in colour. The great art-critic owns,
however, that in no manuscript to which he has obtained
access does the name of this unknown helper and inspirer
occur ; and we are driven to the conclusion that, if he ex
isted, his suggestions were but crude and undigested mate
rial until they were gifted with a soul by the magic touch
of the genius of Raphael — a genius best manifested in the
power of recognizing and assimilating all that was good in
the works of others, building up therefrom an independent
style essentially his own.
1 The Stanza della Segnatura is sometimes called the
Hall of the Faculties, the four allegorical pictures on its
walls representing Theology, Philosophy, Poetry, and
Jurisprudence — the sciences by means of which man strug
gles to apprehend Divine truth. In them and in their sup
plementary pictures, the student can trace all the stages
of the development of Raphael's genius ; the first executed,
that of the ' Dispute on the Holy Sacrament,' being the last
of his works in his second or Florentine manner, whilst the
remainder are in his final or Roman manner. They are
not all the actual production of his hand, but he possessed
the power of so entirely imbuing his pupils with his own
spirit that the keenest critics are sometimes puzzled to de
cide where he resigned the brush to one or another of those
under his superintendence.
The leading idea of the fresco of Theology, or the ' Dis
pute on the Holy Sacrament ' is generally supposed to be
the relation of man to God through the redemption, and
the mystic power of the Holy Eucharist. The second title
must not be taken in the usual acceptation of the word, but
rather to mean the Debate or Argument on the Holy Sacra-

26 RAPHAEL.
ment. The grandeur and diversity of the subjects treated
in this one design, the harmony of the whole, the nobility
of the figures, the warmth and vigour of the colouring,
surpass anything up to that time produced by Raphael ;
and had he not later excelled himself in the ' School of
Athens,' the fresco of 'Theology' would have remained
without its equal in modern art.
The work under notice is divided into two parts. In the
upper, we see the Holy Trinity surrounded by the heavenly
host ; God the Father, in the midst of a drift of Cherubim
and Seraphim, presiding over all ; whilst beneath Him, amidst
the glorified saints of the celestial hosts, sits the Saviour
enthroned on clouds, and a little below Him again the Holy
Spirit, in the form of a dove with outspread wings, is de
scending on the men assembled to worship the Triune God.
On the right of the Saviour the Virgin bends towards
Him in adoration, and on her left we recognize John the
Baptist. On the semicircle of clouds extending to the arch
of the picture on either side are the patriarchs, prophets,
and martyrs, who have already entered into glory, and sym
bolize the Communion of Saints : a group of noble figures,
including Adam, Abraham, Israel, and David, St. Peter,
St. John, and St. Stephen, and many another ancient or
modern hero, each distinguished by some symbol of his
place in the history of the reconciliation of God to man.
It is in the lower part of this great picture, however, that
Raphael's dramatic power is most fully manifested. In
the semicircle about the altar on which the Holy Eucharist
is displayed, the fathers of the church, modern clergy,
philosophers, even schismatics, stand out in life-like reality,
their gestures and attitudes expressing how each one re
gards the symbol of the common faith. Nearest to the

FRESCOS OF STANZA DELLA SEGNATURA. 27
altar are St. Jerome, type of the contemplative Christian ;
St. Ambrose, of the active brain and hand ; St. Gregory,
once the great leader of the Church Militant here on earth ;
St. Augustine, type of the student of the Old Testament.
Further from the altar we recognize Scotus, Thomas
Aquinas, Pope Anacletus, St. Bonaventura, and Pope
Innocent III. ; behind whom we have Dante, greatest of
Christian poets, Savonarola, the austere Florentine preacher
and martyr, with a crowd of minor heroes amongst the
clergy; and last, not least, in the extreme left of the picture,
is a fine portrait of the Dominican Fra Angelico da Fiesole.
The Pope's delight on the completion of ' Theology ' was
unbounded. He had known that he had secured a man of
talent for the work to be done ; he had not expected to find
in his young guest a genius so consummate. Raphael he
resolved should paint all the halls ofthe Vatican, and orders
were at once issued for the removal ofthe old decorations.
But these decorations included work by Piero della Fran-
cesca, Luca Signorelli, Perugino, and others ; and Raphael,
with a reverence for what had been done by his predeces
sors which well became him, remonstrated against such
wholesale destruction, and part of the fresco of the vaulting
of the Stanza della Segnatura was saved. The four large
medallions of the ceiling, and the oblong spaces in the angles
of the vault were, however, prepared for new designs by
the great master, and he appropriated the former to alle
gorical figures serving as epigraphs to the great mural
paintings, and the latter to what may be called transitional
designs bearing an equal relation to the pictures below on
either side.
The allegorical figure of ' Theology,' forming the epigraph
to the fresco of the same name, is characterized rather by

28 RAPHAEL.
gentle earnestness and refinement than by the dignity
and severity of the great work it supplements, leading
some critics to suppose it to be by one of Raphael's pupils,
not by himself. It is a female figure seated on clouds, hold
ing a book in the left hand, and pointing with the right to
the principal picture. On either side rests a cherub, holding
a tablet, and in their vigorous limbs Dr. Springer recognizes
the influence of Michelangelo.
The second of the great frescos, the ' Parnassus,' is not
finished with quite such minute care as the ' Theology,' but
in it the light is more skilfully distributed, and the dra
peries are treated in a grander style. It is imbued with
an intense, almost a religious calm, such as appears to have
characterized the lives of the poets in this golden age of
literature and of the arts. A large window breaks the wall
adjoining the space occupied by the 'Dispute,' but this
formed no obstacle to the genius of Raphael, who indeed
utilized it, to add greater effect to his composition, making
the recess a framework, so to speak, for his work. The
space above the window formed the summit of the hill of
the Muses, the sides of which sloped down naturally on
either side.
The design of the ' Parnassus ' is rather Italian than
antique, an anachronism committed probably in accordance
with a whim of the Pope, who wished the beaux esprits
of his own day to be immortalized. Apollo, seated on a
rock from which flows the Hippocrene, beneath a group of
laurel trees, is playing on a stringed instrument resembling
a violin, listening with his face raised heavenwards to his
own beautiful strains. On either side are grouped the
Muses, beautiful female figures whose attitudes and gestures
seem to imply an almost unwilling submission to the in-

FRESCOS OF STANZA DELLA SEGNATURA. 29
flue"nce of the music. On the left stands the blind poet,
whose figure attracts the eye as forcibly as that of Apollo
himself. His laurel-crowned head is raised as if in
devotion, his lips are parted, and one hand is out
stretched as though to give emphasis to the verses he is
improvising. In a word, Raphael has followed no antique
or traditional model in his Homer, but has given us a new

A

SPSS*

¦**%*,/

realization of the grand character to whom all educated
men bow in reverence.
The group of poets on the right, who appear to be the
followers of Homer, have no very distinct individuality, and
are probably portraits of insignificant contemporaries, but
in the two groups on either side of the hill, and on the slopes,
the great genius has given us ideal portraits of Virgil,

30 RAPHAEL.
Dante, Pindar, and other master-spirits second only in
power to that of the father of them all. Sappho of Myti-
lene, with the three lyrical poets, Alcseus, Anacreon, and
Petrarch, who are conversing with Comina of Thebes on the
right, are especially beautiful.
The allegorical figure of ' Poetry,' forming the epigraph
to the fresco of the ' Parnassus,' is a grand work, considered
one of Raphael's most sublime conceptions, with a face of
supernatural beauty. It is seated on a block of marble
and holds in one hand a book, in the other a lyre. On the
clouds rolling up round the block of marble rest two little
cherubs holding tablets on which are written "Numine
afllatur." The transition pictures on the ceiling in connection with
the ' Theology ' and the ' Parnassus ' are, ' Original Sin,'
and ' Apollo flaying Marsyas.' The former, a fine compo
sition in a spirited style, represents Adam seated under
a fig-tree turning towards Eve, who is offering him the for
bidden fruit ; the latter, supposed to have been executed
by one of Raphael's least able pupils, is a pictorial rendering
of the scene in the first canto of Dante's " II Paradiso," and
represents Apollo seated, with his lyre in the left hand,
ordering one shepherd to flay Marsyas, who is bound to a
tree, whilst a second shepherd is crowning the god with
laurel. The space on either side of the window below the ' Par
nassus ' was filled in by Raphael with two small subjects
in chiaroscuro, one representing ' Alexander ordering the
poems of Homer to be placed in the tomb of Achilles ;' the
other 'Augustus preventing Lucca and Vairus from burning
the JEneid ' in accordance with the wishes of its author.
The third great mural painting of the Stanza della

FRESCOS OF STANZA DELLA SEGNATURA. 31
Segnatura, which excels alike the 'Theology' and the
'Parnassus,' is known as the ' School of Athens.' In it
Raphael combined daring and original conception with
complete mastery of all the fundamental elements of
painting. In the words of Passavant he realized, by the
union of character and beauty, what the old Italian masters
had ever sought — the embodiment of an idea. It is the
one work of the sixteenth century which best unites all
the qualities of what is known as the grand style, consist
ing of the welding in one inseparable whole of the true and
the ideal, a style created by Da Vinci and Michelangelo
and brought to its fullest perfection by Raphael.
The ' School of Athens ' represents an assembly of fifty-
two ancient philosophers, surrounded by their disciples in
a grand vaulted hall, the architecture of which displays
a consummate knowledge of perspective. The different
schools, with Plato and Aristotle in the foreground, are
grouped in such a manner as to form a picture of the his
torical development of Greek philosophy which, in spite
of the many interpretations put upon it by Vasari and
others, is now generally accepted as the leading idea of
this great design. Raphael is known to have taken the
advice of a scholar on the choice and arrangement of the
figures, and to have used some of the ten books, then very
well known, of Diogenes Laertius.
Commencing on the left of the foreground, we have the
most ancient of the philosophic schools grouped about
Pythagoras, succeeded by Socrates and his pupils and
adversaries, forming a kind of connecting link between it
and that of Plato and Aristotle in the centre, beyond which
again are the Stoics, Cynics, Epicureans, and other later
sects, with the masters of the contemporary positive

THE 'SCHOOL, OF ATHENS.*
From the Fresco by Raphael in the Vctti.

FRESCOS OF STANZA DELLA SEGNATURA. 33
sciences, including Euclid, in the foreground. This gene
ral division accepted, the portraits of almost all the leading
exponents of Greek philosophy may be recognized.
Among the pupils grouped about Pythagoras, who is
seen as" an old man seated on the ground and writing in a
book, we see Archytas, interpreter of the doctrine of con
trasts ; a little behind him stands Theano, the wife of
Pythagoras, with two fingers raised above her head, in
allusion to the double consonants discovered by her hus
band ; and on the other side stands Zoroaster, his presence
near the western sage hinting at the then generally re
ceived opinion that Greek philosophy came from the East.
At the extremity of the group on the right is Heraclitus
of Ephesus, who represents the natural philosophy of the
Ionic school ; and between him and Pythagoras is Anaxa-
goras, the friend of Pericles, who formed a link between
the school of Ethics and that of Socrates. Behind him, in
one of his pupils, Raphael has given an interesting por
trait — though it here forms a somewhat painful anachro
nism — of the young prince Francesco Maria della Rovere,
who had lately succeeded Guidobaldo as Duke of Urbino.
The Arab leaning over the books of Pythagoras is sup
posed to hint at the myth of the initiation of the Arabs into
Greek philosophy.
On the same level, but a little more to the left, and
opposite to Heraclitus, we have Democritus of Abdera, the
naturalist, crowned with ivy, with Nausiphanes of Teios,
afterwards the master of Epicurus, resting his hands on
his shoulders.
On the upper steps are some representative Sophists,
including Diagoras of Melos, Gorgias of Leontiui, and Crito
of Athens, succeeded by the grand figure of Socrates him-

34 RAPHAEL.
self, in whose face we recognize something of the divine
spirit which led to his being called a type of our Lord.
Opposite to the great philosopher stands Alcibiades, whose
life he saved, and a little further back is Aristippus, rescued
from a dissolute course by the ennobling teaching of
Socrates. By his side and close to Socrates is Xenophon
of Athens, one of the great master's most eager pupils, and
below him stands poor Eschines the sausage-seller, des
tined through the influence of Socrates to become one of
the greatest of Greek orators.
Further in the background is Euclid of Megara, chief of
the dialectic philosophy, and near to him, occupying the
centre of the assembly, are Plato and Aristotle, the diffe
rence in whose characters and teaching, both so well known,
is admirably expressed by their attitudes and gestures.
Plato, the representative of speculative and theological
philosophy, holds his "Timaeus" in one hand whilst he
raises the other towards heaven, the home of the deity
from whom, he taught, all things are derived. Aristotle,
the representative of practical philosophy, holds his work
of " Ethics " in one hand, and with the other seems to be
emphasizing the necessity of attention to the affairs of this
world. About the two are grouped their disciples, of all
ages, each face with a marked individuality of its own.
On the middle step Diogenes of Sinope, surnamed the
Cynic, is lying negligently holding a tablet in his hand,
apparently quite indifferent to all that is going on about
him; and descending the steps we recognize Epicurus,
founder of the sect which made personal happiness its
principal aim, who is conversing with Aristippus, a young
student of philosophy.
The transition period between the age of the great men

FRESCOS OF STANZA DELLA SEGNATURA. 35
whose names have just been enumerated and that of the
Sceptics, is hinted at in the figure of a young man leaning
against the base of one of the columns, who, standing on
one leg with the other crossed over it, is writing on his
knee, and Scepticism itself is typified in the person of
Pyrrho of Elis, who, standing inactive against the base of
a column, looks sarcastically at the young Eclectician.
By the side of Pyrrho stands Arcesilaus of Pitane,
founder of the new academy, which adopting the theory of
Scepticism, put in practice the doctrine of Stoicism ; and
in the philosopher advancing with a stick in his hands we
may recognize one of the later Cynics.
The foreground of the right side is occupied by a group
of professors of practical mathematics, beginning with a
teacher of geometry who is bending down demonstrating
the original figure with compasses on a tablet. In this
teacher Raphael has immortalized Bramante, from whom.
he took lessons in architecture, an art in which he would
probably have excelled as he did in painting had he culti
vated it to as great a degree. The pupils surrounding
the figure of Bramante express by their gestures the diffe
rent degrees of aptitude with which they are grasping the
lesson. Near the geometricians are two old men symbolizing
Astronomy and Geography. The former, with a terrestrial
globe in his hand, is supposed to be Ptolemy, whose book
was the only guide for travellers in use till the sixteenth
century ; the latter, holding a celestial globe, is Zoroaster
the founder of magic, the sister-science of astrology.
On the right of Ptolemy and Zoroaster, listening to what
is going on about them, Raphael has introduced himself
and his master Perugino.

36 RAPHAEL.
This magnificent composition is set in a framework of
architecture supposed to have been designed by Bramante,
of a grandeur and solemnity entirely in harmony with its
character. Statues of the gods adorn the niches between
the columns, bas-reliefs of antique subjects enrich the
walls, the whole symbolizing the triumph of wisdom over
brute instincts, of virtue over vice.
The epigraph of the ' School of Athens ' on the ceiling
is a female allegorical figure of ' Philosophy,' seated, like
that of ' Poetry,' on a block of marble, adorned with small
figures of Diana of Ephesus. Symbolical representations
of the four elements are woven into the drapery of the
figure. On her knees are books bearing the titles " Naturalis
et Moralis," and near her stand two spirits holding tablets
with the inscriptions " Causarum Cognitio." The whole, in
spite of much suffering from decay and restoration, bearing
the impress of Raphael's own hand.
Other supplementary pictures of the walls and ceiling
of the Stanza della Segnatura by Raphael or his pupils are
the allegorical figure of Jurisprudence, the feeblest of the
four epigraphs ; the ' Judgment of Solomon,' a transition
subject between the fresco of Philosophy and that of Juris
prudence, a fine work, symbolizing the triumph of the
divine law of nature over written codes ; the allegorical
figures of Force, Prudence, and Moderation in the arch of
one of the windows ; the ' Emperor Justinian giving the
Pandects,' a narrow design on the left near the window,
and ' Gregory IX. giving the Decretals,' a companion work,
on the right.
The whole of this vast series of compositions was com
pleted in three years. The date, 1511, beneath the Par
nassus is that of the conclusion of the work. " And when

FRESCOS OF STANZA DELLA SEGNATURA. 37
it was done," says Vasari, " the Pope expressed his great
satisfaction with it to the artist." " With us art-indigents
of later times," comments Dr. Springer, "satisfaction is
intensified to almost boundless admiration." " We are of
course aware," he adds, " that Raphael had not yet attained
to his fullest development, and that his power was still on
the increase. We shall meet with other works by him
characterized by even loftier flights of imagination, richer
diversity, and more translucent purity of form ; but for all
that, the pictures in the Stanza della Segnatura will ever
have for us a special charm. They glow with the lustre
of a great century and speak to us with the voice not only
of the artist, but of each one of the great men who made
the Renaissance the brightest Sabbath in the history of
humanity." Face to face with Raphael's frescos we recognize the
sympathy which binds together the master-spirits of all
ages, and we bow our heads before the combined power of
ancient and modern thought.

CHAPTER IV.

RAPHAEL IN ROME.

1511 to 1513.

A GREAT stride, as we have seen, was made by Raphael
during the first three years of his residence in Rome,
and the difference between his last work in Florence and
his first in the capital is not so marked as that between
the ' Theology ' and the ' School of Athens.' For a short, a
very short, time the influence of Michelangelo, strange to
say, seemed likely to check at a critical moment the full
development of Raphael's own peculiar style. He could
not resist the temptation of trying to imitate the great
elder master whose works were then exciting such intense
enthusiasm. We note this, as it might have been, fatal
mistake in Raphael's ' Prophet Isaiah,' a fresco on a pillar
in the church of St. Augustine, one of the weakest of the
great master's works, executed almost immediately after
the completion of the ' School of Athens ; ' but fortunately
for him and for the world this attraction did not last long,
and in each one of the portraits and Madonnas as well as
in the frescos of the Stanza d' Eliodoro next produced, the
student can recognize a step in advance.
The first easel picture painted by Raphael after the com
pletion of the frescos of the Stanza della Segnatura was
the world-famous portrait of Julius IL, now in the Pitti

POPE JULIUS II.
From the painting by Rapliael, in the PiUi Palace, Florcvr-.

RAPHAEL IN ROME. 39
Palace, Florence, in which we have a true and life-likeness
of the great Pontiff in one of his best moments. The
portrait of the young Marchese Federico of Mantua, now
in the possession of Mr. Lucy of Charlcote Park, is sup
posed to date from the same period.
A more interesting work than either of these, however,
is the portrait1 of Raphael himself, which gives us an oppor
tunity of noting the change in the appearance of the young
genius since he painted his own likeness in the early Flo
rentine days. His face, formerly so melancholy, has now
more character, more vigour, more enthusiasm. He has
still the noble sadness inseparable from genius, but through
it shines a consciousness of a great purpose. He looks at
us with a sweet and penetrating gaze which seems to take
us into his confidence and to invite our own, and in his
firmly closed lips we read an assurance that that confidence,
could we give it, would be sacred.
About 1511 or 1512, Raphael painted the large altar-
piece known as the ' Madonna di Fuligno,' now in the Vati
can, a magnificent work, chiefly remarkable for its masterly
drawing, beautiful colouring, and the skilful use of chiar
oscuro. In it the Virgin seated on clouds in a golden glory
is surrounded by a semicircle of angels' heads of exquisite
beauty and refinement. With one hand she embraces her
Divine Son, and with the other holds some drapery about
Him. Mother and Child both gaze down on the kneeling
figure of Sigismondi Conti, beside whom stands St. Jerome
with eyes raised to the Virgin's face and one hand on the
votary's head. On the other side kneels St. Francis with
St. John the Baptist behind him, and in the centre of the
picture is a little naked angel holding a tablet.
1 This "portrait is now known only from engravings.

40 RAPHAEL.
Two portraits about which there has been a great deal
of controversy date from the same time as the ' Madonna di
Fuligno.' The first, that of a young and beautiful woman,
seen nearly full face, is generally supposed to represent
Beatrice of Ferrara, who was famous at this time ; the second
is a likeness of Bindo Altovito, one of the handsomest men
of his day, who, in addition to this portrait, also commis
sioned Raphael to paint the charming little ' Holy Family,'
known as the ' Madonna dell' Impannata,' now in the Pitti
Palace, the design alone for which was, however, executed
by the great master himself.
The celebrated ' Madonna ' of the Bridgewater gallery,
a masterpiece of drawing and modelling, the figure of the
Child being especially beautiful, is another exquisite work
of the early portion of Raphael's Roman career. It was
succeeded by the 'Holy Family of Naples,' originally
painted for Lionello da Carpi ; and the Tempi ' Madonna,'
now in the Pinakothek of Munich, each differing from the
others in the arrangement of the subject, though alike in
their noble simplicity of style.
About 1510 negotiations were opened with Raphael by
a wealthy merchant named Agostino Chigi, for the execu
tion of a number of important works, of which the principal
was the decoration of the chapels of the churches of Santa
Maria della Pace and Santa Maria del Popolo. The former
alone was actually executed by Raphael, orders for the
frescos of the Stanza d' Eliodoro in the Vatican having been
received before the completion of the first half of his task.
The following was the plan carried out by Raphael in
Santa Maria della Pace. On the wall above the arch of the
chapel are four prophets with four angels, and below them
four Sibyls and numerous angels receiving the revelation.

THE MADONNA DI FULIGNO.
From the painting by Raphael, in the Vatican, Rome.

SANTA MARIA DELLA PACE. 41
The prophets, though of grand design, are feeble in execu
tion and are supposed to have been painted by Timoteo della
Vite under Raphael's superintendence. The Sibyls, on the
other hand, are instinct with dignity and grace, and there is
no doubt that they were entirely executed by the great master
himself. On the left is seated the Cumsean Sibyl, known
under so many names, who figures in Virgil's iEneid, and
whose books were among the most revered of the oracles
of ancient times. In her right hand she holds a scroll,
which, half opened by an angel flying above her head, bears
the inscription in Greek, " The resurrection of the dead."
Next to her sits the less celebrated Persic Sibyl, writing on
a tablet held by an angel, " He will have the lot of death."
On the keystone kneels a little angel holding a torch, and
another seated close at hand points to a tablet with the in
scription, " The heavens surround the sphere of the earth."
On the right stands the young and beautiful Phrygian
Sibyl leaning against the curve of the arch, and in striking
contrast with her youth, vigour, and grace is the ancient
figure of the Tiburtina, who is reclining at the edge of the
picture. Between the two is an angel holding a tablet with
the inscription, " I will open and arise," whilst above him
floats yet another, bearing an open scroll on which is written,
" Another generation already."
As is natural, the Sibyls of Raphael have again and again
been compared with those of his great rival Michelangelo,
the general verdict being that in beauty of drawing and
grace and tenderness of expression, the former carry off the
palm, whilst the latter remain unrivalled for grandeur and
originality. It is related that before the frescos of Santa Maria della
Pace were completed Raphael received 500 scudi as payment

42 RAPHAEL.
in advance. When the whole series was done the master
informed Giulio Borghesi, the cashier, how much more he
considered due to him, who, thinking the 500 scudi already
paid enough, took no notice of the application. Raphael,
however, pressed it, and finally said : " Cause the work to
be estimated by a judge of painting, and you will see how
moderate my demand is."
Borghesi agreed to this plan, and thinking, perhaps,
that the well-known jealousy entertained by Michelangelo
of Raphael might serve him in good stead in this delicate
matter, he chose the great sculptor as umpire. Together,
then, cashier and sculptor went to view the work, and the
latter, gazing at the magnificent production, forgot his
errand in unbounded and silent admiration. " Well ? " be
gan Borghesi. " That head," replied Angelo, pointing to
one of the Sibyls, " that head alone is worth a hundred
scudi." " And the others ? " asked the astonished cashier.
" The others are not worth less ! "
This amusing scene being reported to Chigi, he at once
ordered another 300 scudi to be paid to Raphael, saying
to Borghesi: "Behave very politely to him, so that he
may be satisfied ; for if he insists on my paying also for
the drapery, we should probably be ruined."
Before the paintings of Santa Maria della Pace were com
pleted, the indefatigable worker had begun the second of
the world-famous Stanze of the Vatican, that known as
d' Eliodoro. As in the Stanza della Segnatura, old works
by early masters were removed to make room for the new
designs by Raphael ; but, as before, he showed reverence
for the labours of his predecessors, saving some of the
minor details, including the small antique subjects in
grisaille relieved with gold forming the framework of the

y

THE HOLY FAMILY :  OF NAPLES.
From the painting by Raphael, in the Museum at Naples.

STANZA D' ELIODORO. 43
ceiling, and causing careful copies to be made of the large
designs by Bramantino and Piero della Francesca, which
he failed to rescue.
The four large paintings of the ceiling were produced
before the mural frescos, and are generally considered
superior to them. To give them an appearance of light
ness, they are represented as painted on loose sheets
fastened to the vaulting. The first executed, the subject
of which has been variously interpreted, is ranked amongst
Raphael's greatest works, and is known as ' God appearing
to Noah.' In it, God the Father is seen descending from
heaven accompanied by two small angels, and is about to
speak to Noah, who kneels before Him in adoration. One
of the patriarch's sons stands near him, the others are
grouped about their mother at the door of their house.
The second ceiling painting represents the ' Sacrifice of
Isaac' In it Abraham bends over the kneeling figure
of his son and is about to strike when an angel arrests
his arm. A second, and some critics say an extremely un
graceful angel, is descending from heaven head downwards,
bearing the ram which is to replace Isaac.
The third and feeblest fresco of the ceiling represents
' Jacob's Dream.' The patriarch is lying asleep on a heap
of stones, and in the clouds above is seen a ladder on which
five angels are climbing ; beneath, a figure of Jehovah with
outstretched arms.
The fourth and last — second only in grandeur to the
first — shows us, ' Moses prostrate before the Burning Bush,'
and the Lord Jehovah issuing from the flames attended
by angels and seraphim.
One and all of these pictures have suffered greatly from
the inferior material in which they are executed — a circum-

44 RAPHAEL.
stance fortunately discovered by Raphael before he put
in hand the more important mural frescos; though even
they now show signs of premature decay. The first repre
sents the 'Driving of Heliodorus out of the Temple of
Jerusalem,' where, as related in the second book of Macca
bees, he was stealing the money given by the charitable
for the use of widows and orphans, when three celestial
messengers suddenly appeared and arrested him in the
very act.
The whole scene is instinct with dramatic grandeur and
interest, culminating in the foreground on the right-hand
side, where Heliodorus lies prostrate beneath the hoof of
the celestial steed and awaits the blow its rider is about to
deal, with one arm feebly raised in a vain effort to save
himself, whilst the other two avengers, on foot, bear down
upon him with fury in every gesture. The centre of the
picture is occupied by the priests in prayer, and in the
foreground on the left, horror-stricken spectators are
grouped about what appears a strange anachronism, the
papal chair in which Julius II. sits enthroned — that pontiff
having insisted on figuring in the scene, in spite of
Raphael's earnest protestations against thus destroying the
unity of his conception. To make up for what he must
have felt to be a fatal error, Raphael has given an admi
rable portrait of his friend and the engraver of his most
celebrated works, Marc Antonio Raimondi, who acts as one
of the Pope's bearers, the other being the secretary,
Giovanni Pietro de' Foliari, of Cremona.
The leading idea of this grand fresco appears to have
been the direct protection given by God to His faithful
servants, and its chief characteristics are its strength and
warmth of colouring, Raphael having endeavoured to give

THE MIRACLE OF BOLSENA. 45
to it something of the force of oil-painting whilst retaining
the freshness peculiar to the medium employed.
The second great fresco, representing the 'Miracle of
Bolsena,' forms a kind of supplement to the first, illustrating
as it does the interposition of God to check the mischief
wrought by unbelievers. It is a rendering of the old
tradition telling how in 1263, when Urban IV. was Pope, a
certain priest who doubted the truth of transubstantiation
suddenly saw the blood actually flowing from the Host he
had just consecrated, when celebrating mass at Bolsena,
in the church of Sta. Christina, a miracle still commemorated
in the Roman Catholic Church by the feast of Corpus
Christi. As in the ' Parnassus ' of the Stanza della Segnatura, the
wall on which the ' Miracle of Bolsena ' is painted is pierced
by a window ; but again Raphael did not allow an acci
dental circumstance of this kind to hamper his genius.
He turned it, indeed, to account by using the spaces on
either side to represent the steps leading to the altar,
which he painted above the horizontal line of the upper
part of the window, with the Pope and his attendant
priests and servants grouped about it.
The chief characteristics of this work are the truth and
vigour of the local colouring, exceeding anything hitherto
produced in fresco, and the intensity and variety of expres
sion in the faces and gestures of the figures. The surprised
humility of the priest on realizing the mistake he has made,
the angry scowl of one of the cardinals behind the Pope,
the reverent absorption in prayer of the Pontiff himself,
the stolid acceptance of things as they are of the Swiss
soldiers, and the eager excitement of the vivacious Italian
spectators, are all alike rendered with surprising felicity,

46 RAPHAEL.
giving a reality to the scene which carries away even the
Protestant spectator.
Whilst Raphael was at work on the second great fresco
in the Stanza d' Eliodoro, his friend and patron Julius II.
died and was succeeded by Giovanni de' Medici, son of the
celebrated Lorenzo de' Medici, under the title of Leo X.
The new pontiff, a young man of thirty-seven, imbued with
an earnest love of art and literature, carried on with equal
vigour, though perhaps with less wisdom, the works set on
foot by his great predecessor, and in him Raphael found a
true friend and a liberal patron.
The labours of the great master in the Stanza d' Eliodoro
were scarcely interrupted by the death of Julius IL, the
only difference in the work resulting from that event being
the substitution in the remaining frescos of allusions to the
life of the living instead of those previously decided on to
that of the dead pope.
The third great fresco represents in three parts ' The
Deliverance of St. Peter from Prison,' and, like its com
panion, the ' Miracle of Bolsena,' is set, so to speak, in the
framework of a window. The central group above the
window shows St. Peter and his two guardians chained
together in prison, all in deepest slumber. The angel
come to rescue the saint is approaching the sleepers, who
are as yet all unconscious of his presence. On the right of
the window St. Peter is seen leaving the prison under the
guidance of the celestial visitor, passing unnoticed amongst
the sleeping guards, and on the left the keepers are re
presented awaking in surprise and dismay at the disap
pearance of their charge.
The first and second of these three scenes is lighted by
the celestial radiancy of the angel alone, reminding us of

'THE DELIVERANCE OF ST. PETER.' 4?
the wonderful ' Night ' of Correggio, in which the picture
is illuminated by the glory emanating from the infant
Saviour's head. The third group is lighted by the glimmer
of a torch held by one of the soldiers, and by the moon
shining from a cloudy sky. The contrast thus presented
produces a most striking and original effect ; one too which
has been discussed and criticized ad infinitum, though
never excelled except by the great master of chiaroscuro,
Correggio himself.
In ' The Deliverance of St. Peter,' Leo X. insisted on
having commemorated his own escape after he was taken
prisoner by the French at the battle of Ravenna, and
Raphael met his wishes by representing the soldiers in
the steel helmets and arms of the sixteenth century — an
anachronism for which he has been much blamed by many
critics ignorant of its reason.
The fourth and last of the large mural pictures of the
Stanza d' Eliodoro, in which Raphael surpassed himself in
dramatic grandeur of style, beauty of colouring, and
correctness of drawing, represents the ' Discomfiture of
the Hordes of Attila by the apparition of St. Peter and St.
Paul.' It will be remembered that the terrible leader of
the Huns, who had become known as the " Scourge of God "
on account of the execution wrought by him with his
supernatural sword in the constant raids he made on
Western Europe, met with a check at last from Pope
Leo I., who is said to have visited him in his camp and
overawed him by the solemn majesty of his presence.
Tradition has supplemented this probably true account of
one of the romantic incidents so common in the old chival-
ric days . by a legend that the apostles Peter and Paul
appeared by the side of the pontiff, and that it was

48 RAPHAEL.
their interposition which really saved Rome from de
struction. In Raphael's fresco Attila is seen in the centre of the
picture mounted on a black horse with white spots ; a num
ber of his wild followers are issuing from a mountain pass
behind him. Beside him are two soldiers pointing to the
Pope, with the features of Leo X., who is calmly advancing,
mounted on a sober palfrey led by a squire and followed
by a crowd of attendants, most of them portraits of con
temporary celebrities. Above, Saints Peter and Panl
appear in the clouds waving flaming swords.
In the original drawing, now in the Louvre, for this grand
work, a fine group of soldiers occupies the position of Leo
X. and his Court. Raphael was compelled to make this
alteration in order to commemorate the driving out of the
French from Italy under the reigning pontiff.
The four large frescos of the Stanza d' Eliodoro are
supplemented by a number of smaller designs on the walls
and embrasures of the windows, all bearing reference to
the prosperity of the Papal States under Leo X. Eleven
female figures, with small capitals on their heads, which ap
pear to support the cornice, represent Religion, Law, Peace,
Protection, Nobility, Commerce, Navigation, Plenty, Hus
bandry, Agriculture, and the Cultivation of the Vine;
and on marble slabs between are subject-pictures, repre
senting the ' Harvest,' ' Rome protecting the Arts and
Sciences,' ' Minerva banishing Discord,' ' Agriculture,' the
'Vintage,' 'Threshing Corn,' 'Abundance,' 'Husbandry,'
' Rome and the Tiber and the Navy.' The grotesques of the
embrasures, though originally from the hand of Raphael or
of his pupils, have been almost entirely repainted.
Comparing the second Stanza of the Vatican with tho

THE STANZA D' ELIODORO. 49
first painted by Raphael, we find the former excelling
in grandeur of design, purity of drawing, and severity
of .execution ; whilst the frescos of the Stanza d' Eliodoro
carry off the palm in dramatic force, boldness of execution,
and warmth of colouring. In both, the treatment is, how
ever, held in strict abeyance to the conception ; and their
completion formed an era in art-history, raising as they did
the standard of perfection for all future times.

CHAPTER V.
raphael as a lover, a friend, and an architect.
1514 to 1516.
THE history of Raphael has thus far been little more
than a record of his art-development. Never, per
haps, were there fewer materials for a biography of
a man at once so great and so beloved as the Prince of
Painters. We find no anecdotes of his boyhood or his
youth illustrative of his character, and can only trace here
and there the influence of what appears to have been the
one great passion of his life, his love for a young girl whose
very name is unknown, in the works produced during the
last ten years of his brief career.
Three sonnets, the rough copies of which, written on
studies for the ' Disputa,' are preserved in the art collections
of Vienna, London, and Oxford, were the first outcome of
the new influence in the young master's life, and tradition
says that Raphael first saw his lady-love bathing her feet
in a fountain in the garden of her home. Further, that
her name was Margarita, and that she was the daughter
of a soda manufacturer, who lived near St. Cecilia on the
other side of the Tiber ; but, alas ! the only facts in this
pleasing tale really corroborated by trustworthy evidence
are that the young girl's name was Margarita, and that

RAPHAEL AS A LOVER. 51
Raphael loved her to the end of his life. Whether he set
the sacred seal of marriage on that love is not known ; but
as he does not speak of her as his wife in the will which
gave her a fortune on his early death, we fear she was
never more than his mistress.
A letter from Raphael to his uncle Simone di Ciarla
bearing date July 1st, 1514, refers to a projected mar
riage with Maria, daughter of Antonio Divizio da Bibiena,
nephew of the cardinal of that name — a union pre
vented either by the early death of the young lady or Ra
phael's prior attachment to Margarita. In this same letter
Raphael also naively alludes to a private wish of his uncle's
with regard to his marriage. " I have received your dear
letter," he says, " and am happy to see by it that you are
not angry with me. ... In the first place, as to taking a
wife, I will say, in regard to her whom you destined for me,
that I am very glad, and thank God for not having taken
either her or another. And in this I have been wiser
than you who wished to give her to me. I am convinced
that you see yourself that I should not have got on as I
have." Raphael further dilates on the " getting on," which would
have been checked by an uncongenial marriage, by telling
his uncle how he has already made 3,000 ducats of gold, en
joys an income of fifty ducats, has received promise of an
appointment from his Holiness with a salary of 300 ducats,
and that he cannot, from love for the works of St. Peter, tear
himself from Rome.
Other slight glimpses into the private life of Raphael are
afforded by references in contemporary manuscripts to his
friendships with numerous great men of the day. Foremost
amongst these was Count Baldassare Castiglione, who

52 RAPHAEL.
visited Rome soon after the accession of Leo X., and was, we
are told, struck dumb by the progress made by Raphael since
his first acquaintance with the young artist at the Court of
Urbino. The friendship between the Count and Raphael
is immortalized by two portraits of the courtier, one of which
is in the Louvre and is evidently a speaking likeness. The
other has, we fear, been lost, there being no reference to
it in Passavant's exhaustive catalogue of the works of
Raphael. Next to Castiglione amongst the friends with whom Ra
phael was most intimate in Rome ranks Pietro Bembo, for
whom he painted portraits of the authors Navagero and
Beazzano, the originals of which, now lost, are represented
by good copies in the Doria Palace, Rome ; the poets, Ja-'
copo Sanazarro and Antonio Tebaldeo, whose portraits are
introduced in the 'Parnassus;' Ariosto, whose advidethe
artist asked as to whom he should introduce in his fres'cd'of '
the 'Disputa; ' Cardinals, Riario. and Giulio de' Medici;'
Bramante, the great architect, with whom Raphael had many
an interesting discussion, on the grand works in which either
was engaged ; Fra Bartolommeo, with whom the younger
master often worked ; andlast, not least, the two great and
widely different stars of the art-world, Leonardo da Vinci,.
who visited Rome about 1513, and Albert Durer, with whom
Raphael was iu constant communication, though not in'per- ,
sonal intercourse, from 1516 till, his death. - 1 ¦ ¦ '< '¦
Supplementing this, ,, brilljant , -gfttoxyi pf master minds'-
were a crowd of followers, pupils, and- imitators^ includ- '
ing the great, engraver, -.-Marc, 'Antonio Raimondi,' who
has reproduced nearly all Raphael's- works, -Giulio Ro
mano, and many another, who owed their; inspiration en- '
tirely to Raphael, laying aside all individuality of style in

PORTRAITS OF HIS FRIENDS. 53
their desire .to follow in his steps. We are told that Ra
phael never went even for a walk in Rome without a crowd
of attendant pupils, who hung upon his words, and some
times even jostled each other in their eagerness to gain his
ear. Surrounded thus by friends and admirers, happy in his
home life, and feeling that he had now reached the very
zenith of his powers, Raphael produced one masterpiece after
another, his career suffering absolutely no check from the
change of government in Rome, for Leo X. showed himself
better able if possible than Julius II. had been to appre
ciate his genius.
The first easel picture executed by Raphael after the ac
cession of Leo X. was a portrait of the celebrated Phasdra
Inghirami, now in the Pitti Gallery, interesting on account
of the wonderful truth of expression and the clearness with
which the head stands out in full light, reminding the spec
tator of Holbein's best likenesses. The subject of this por
trait received the nickname of Phaedra from his having sud
denly improvised some Latin verses to amuse an audience
and avert a panic at a theatrical entertainment when some
machinery gave way. On the truth becoming known, the
spectators shouted " Viva Phaedra," and the name clung to
him ever afterwards.
About the same time as the painting of this portrait,
Raphael, with the assistance of Bramante, commenced the
erection of his own house on the Via di Borgo Nuova, near
the Vatican. This building, after the owner's designs,
is now destroyed except a small portion of the basement,
which has been incorporated in the Accoramboni palace.
We can form some idea of its beauty, however, from an en
graving of its facade in the library of Prince Corsini at
Rome, in which we see that the ground floor was of rustic

54 RAPHAEL.
architecture, and the upper storey in the severe Doric style,
with coupled columns, and windows surmounted by trian
gular pediments.
Whilst still engaged on the second Stanza of the Vatican
Raphael painted several large pictures of great beauty, in
cluding the ' Madonna del Pesce,' or ' Madonna with the
Fish,' now in the Madrid Gallery, but originally an altar-
piece for the church of San Domenico Maggiore at Naples,
and the celebrated fresco of ' Galatea ' in a hall of the
palace built by Baldassare Peruzzi for the rich banker,
Agostino Chigo.
The ' Madonna del Pesce ' is considered one of Raphael's
finest works, combining as it does all the excellences of his
matured style with the love of spiritual beauty which cha
racterized his earliest productions. The Virgin, seated on a
throne with the Divine Child in her arms, looks down upon
the young Tobias, who, led by an angel, is come to pray for
the recovery of his father from blindness ; the whole scene
bearing reference to the special powers of healing diseases
of the eye, said to be exercised in the chapel for which this
' Holy Family ' was painted. The presence of St. Jerome
offering the Holy Child a book and with the lion at his feet,
is not very easy of explanation ; but he could ill be spared,
his face and figure being full of the noblest dignity.
Tradition says that this ' Madonna ' was stolen from the
Dominican convent at Naples by the Duke of Medina, and
when the defrauded friar complained to Rome of his loss,
the noble thief revenged himself by ordering him to leave
the kingdom of Naples within a few hours, sending fifty
horsemen with the message to enforce compliance. How
ever this may be, the ' Madonna del Pesce ' did not long
adorn the chapel for which it was painted ; after remaining

THE MADONNA WITH TI1E FISH.
From the -painting by Raphael, in the Madrid Museum.

THE 'TRIUMPH OF GALATEA.' 55
for some time at Madrid it was carried off by the French in
1813, arriving in Paris in such a dilapidated condition as
to be scarcely recognizable. Thanks to the Duke of
Wellington, the restoration, put in hand by Bonnemaison
for the French monarch, was completed after the treaty of
1815, and the picture was then returned with other art
treasures to the king of Spain.
The ' Galatea,' an allegorical representation of the supe
riority of spiritual over material happiness, is a conception
full of poetic feeling and instinct with life and action. In
it Raphael is supposed to have embodied the scene described
by Philostratus in speaking of the Cyclops, in which Galatea
sails over the sea in a shell drawn by dolphins and attended
by several nymphs.
In the fresco, the undraped goddess stands in her shell-
car with her eyes raised to heaven in rapt contemplation ;
apparently unconscious of the presence of Love, who acts as
¦ guide, or of the fair nymphs upon their Triton and Centaur
steeds, at whom little cupids in the air are shooting arrows.
Alluding to the enthusiasm with which this work was re
ceived, Raphael, in a letter to his friend Count Castiglione,
says : " I should think myself a great master if it possessed
one half of the merits of which you write. . . To paint a
picture truly beautiful, I should see many beautiful forms
. . . but beautiful women being rare, I avail myself of cer
tain ideas which come into my mind. If this idea has any
excellence in art, I know not, though I labour heartily to
acquire it."
This simple expression of Raphael's wish to realize an
ideal in his work has been made the text of many a disser
tation by art-critics as to its exact meaning, some even going
so far as to see in it an ambition which, by seeking to repre-

56 RAPHAEL.
sent that which had no existence in nature, defeated itself
and sowed the seeds of the decline in art so soon to succeed
the production of the masterpieces of the sixteenth century.
To us, however, every word on his work from Raphael's
own lips does but add weight to our conviction that he of
all men was most truly imbued with the knowledge that
the ideal is but the expression of the highest natural per
fection, a perfection of which the germs may be recognized
by those who have eyes to see them, even in the most de
graded forms.
The same letter which thus speaks of the ' Galatea,' also
alludes to a great honour and burden laid on Raphael's
shoulders by the Pope. This was his nomination to the
post of architect to St. Peter's on the death of his friend and
master in that branch of his profession, Bramante. The
great architect had. recommended his young, pupil to this
arduous post on his death-bed ; but before the appointment
was actually conferred, Raphael was required to give some
idea of the plan he would follow, and also an estimate of
expenses. He replied by making a wooden model which
excited universal admiration, and at once secured him the
vacant post at a salary of about £150 a year of our money.
The model,. of excellence so great as apparently to merge
the question of expense in the eagerness to secure its author
for reproducing it in stone, is lost, but some idea may be pbr
tained of it from a plan published by Serlio. It consisted
of a Latin cross, with a large cupola above the point of in
tersection of the transepts, and some critics are of opinion
that its realization would have been more satisfactory than
the design actually carried out some years later by Michel
angelo. The appointment thus eagerly conferred and received

THE TRIUMPH OF GALATEA.
From the fresco by Raphael, in the Farnesina Palace, Rome.

MODEL FOR ST. PETER'S. 57
was unfortunately fruitful of but small results, and nothing
seems to have been done by Raphael and his two colleagues,
Giuliano da San Gallo and Giocondo da Verona, beyond
the preliminary strengthening of columns and throwing
across of arches. The reason for this strange inaction has
been differently given, but it is generally supposed that the
money which was to have been devoted to St. Peter's was
applied to some other purpose.
Raphael succeeded better in the completion of another of
Bramante's unfinished designs — the three-storied court of
San Damaso, in the Vatican, which is still considered one of
the most beautiful buildings in existence. The only other
architectural work actually executed by the Prince of
Painters, though many houses and chapels of Rome are
certainly after his designs, was the chapel for Agostino
Chigi at Santa Maria del Popolo, the decorations of which
were to have formed a kind of epic in mosaic, marble, and
fresco of the history of man from the fall of Adam to the
coming of Christ. The image of the Creator on a golden
background and the statue of Jonah alone were completed
before Raphael's death in 1520 ; but years afterwards the
great master's first conception was in some measure
realized partly by Sebastiano del Piombo and still later by
Bernini. Of the architectural works after Raphael's designs still
to be seen in Rome, all of which are remarkable for massive
grandeur, beauty of form, and truth of proportion, the
finest are a house named de' Berti in the Via del Borgo
Nuovo, a palaee now belonging to Cardinal Vidoni, and a
villa on Monte Mario. In contemporary MSS. we find many
allusions to the translating of manuscripts for the use
of the painter-architect, and letters to and from Raphael

58 RAPHAEL.
relating to the purchase of marbles, have been preserved
— all tending to show that he put his whole heart into
every detail connected with his office. Indeed, Vasari,
Passavant, and others are of opinion that had he been an
architect only he would have equalled if not excelled even
Michelangelo, with whom we shall find him presently
competing on his own ground at Florence ; but his entry
into this field can only be looked upon as an episode in his
career which scarcely affected at all the main purpose of
his life, the bringing to absolute perfection the art of
painting in which he is universally recognized as Prince.
In 1513 Raphael was asked to paint an altar-piece for
the chapel of St. Cecilia, built at the cost of a noble lady
of Bologna, Elena Duglioni by name, who was sub
sequently canonized. In the work produced, the great
master entered a world new to him, that of dreams and
visions, and has given us a rendering of the legend of St.
Cecilia instinct with religious feeling, each figure bearing
the stamp of some special Christian virtue. The saint, who
is the patroness of music, occupies the centre ofthe picture,
and is listening in rapt attention to the singing of six angels
which is said to have broken suddenly upon her ear. Her
organ is slipping from her hands as she recognizes how
feeble are its melodies compared with the celestial har
monies, and her whole attitude is one of eager longing for
the joys of Heaven.
Grouped about St. Cecilia are St. Paul, resting on his
naked sword and representing knowledge and wisdom ;
St. John, whose presence is suggestive of Divine love;
Mary Magdalene, typical of forgiveness of sin ; and St.
Augustine, representative of modern Gentile converts to
Christianity.

MW

, ,,-,.f^

SAINT CECILIA LISTENING TO THE SINGING OF ANGELS.
From the painting hy Raphael, in the Pinacoteca of Bologna.

THE 'ST. CECILIA.' 59
The religious feeling of the ' St. Cecilia ' is equalled, if
not surpassed, by the beauty of style and the harmony
and richness of colouring, giving to the whole an almost
ethereal appearance, suggestive of its author having risen
for a time above the earth-mists which usually cloud the
human vision. This fine picture, though probably begun
in 1513, was not completed until 1517, at which date
Raphael, we are told, sent it to Francia, to ask him to
remedy any defect he might see in it before it should be
placed in the chapel for which it was painted. The
enthusiasm on its arrival at Bologna was unbounded, and
it is still one of the chief treasures of that town ; though,
like so many other works of art, it was carried to Paris
in 1798, returning to its original home in 1815.
About the time of the painting of the ' St. Cecilia,'
Raphael was admitted into the Fraternitas Corpus Christi,
a rigid religious society ; from which we may gather that
he was an earnest Catholic, firmly believing in the legends
he rendered in so grand a manner.
A fitting companion to the ' St. Cecilia ' is the ' Vision
of Ezekiel,' painted for Count Vincenzo Ercolani of
Bologna, and now in the Pitti Gallery, Florence, in which
Jehovah is represented as the God of Wrath of the Old
Testament, seated in a glory of cherubims' heads and with
His arms upheld by two small angels, their faces expres
sive alike of awe and joy. The four symbolic creatures
of the vision, supposed to be typical of the Evangelists, are
grouped beneath the Creator, and are full of power and
dignity. The glory about the Lord Jehovah, of brightness
so great as almost to conceal the heads of the cherubim,
seems as in the vision to touch the upturned faces with
living fire, and from a rift in the clouds rolling back from

60 RAPHAEL.
under the feet of the group a track of light falls upon the
figures of Ezekiel and his steed.
A ' Nativity,' alluded to by Vasari, was painted about
the same time as these two symbolic pictures, but unfor
tunately no trace of it has ever been discovered. The sun
rise in the landscape background was especially commended,
and Count Canossa, for whom the picture was executed, is
said to have esteemed it so highly as to have refused fabu
lous sums for it.
Greater works than any of these were, however, in store
for Raphael, who was now commissioned to decorate yet
another hall in the Vatican, known as the Stanza di Torre
Borgia, with the vestibule of the Palafrenieri and the so-
called Loggie ofthe second storey, consisting of a fine gallery
divided into thirteen small compartments with cupolas lead
ing from the staircase of the second storey to the Sala di
Costantino and the Stanze.
The Pope being anxious for the rapid completion of the
whole, Raphael was compelled to call in the assistance of
some of his numerous train of pupils, and to them he gave
up the painting of the Loggie and Palafrenieri, merely sup
plying them with sketches for the designs. For the new
Stanza itself, however, he made special cartoons, the greater
part of which he executed with his own hand.

CHAPTER VI.
the stanza of the incendio del borgo, and the loggie op
the vatican.
1516 to 1517.
THE ceiling ofthe Stanza ofthe Incendio del Borgo or Di
Torre Borgia had already been decorated with frescos,
by Perugino, representing scenes from the life of Christ, the
apostles, saints, and angels, and Raphael interfered, as he
had so often done before, to prevent the destruction of good
work to make room for his own. He was this time, how
ever, unable to make the new designs supplement the old,
the terms of his agreement compelling him to represent the
events which' distinguished the reigns of Leo III. and Leo
IV., combining with them allusions to the life of the reign
ing pontiff.
Raphael began this somewhat difficult task with the fresco
known as the ' Oath of Leo III.,' in which he has repre
sented that pope with the features of Leo X. standing in
front of'the altat of St.' Peter's' church with'his hands on
the Gospels, refuting in'1 the 'presence of Charlemagne and
his Court the charges' brought against' hiin by the nephew
ofthe deceased pontiff Adrian I. Tradition says, that as
Charlemagne turned to the representatives of the Church
and State assembled before him, asking them to pronounce

62 RAPHAEL.
judgment on Leo, a voice was heard declaring that no one
had a right to judge the supreme sovereign.
The trial was at once closed by Charlemagne, who appears
to have taken the voice to be, if not actually supernatural,
yet prompted from above. Leo III. took the oath of puri
fication, and the assembly was dismissed. Beneath the
fresco is written, "To God and not to man belongs the
judging of bishops," and it is looked upon as symbolic of
the supremacy of the papacy over the temporal power. It
is difficult to judge critically of the work as a painting, it
having suffered terribly from decay ; but in the dramatic
grouping of the crowds behind the bishops and about the
steps we recognize the style of Raphael, though the execu
tion may have been partly carried out by one or another of
his pupils.
The second fresco represents the ' Coronation of Charle
magne by Leo III.,' and is symbolical ofthe derivation of the
temporal from the spiritual power. Leo III., again with the
features of Leo X., is seated in the foreground, and is about
to place the crown on the head of the kneeling emperor with
the features of Francis I. ; the two portraits bearing refe
rence to the treaty of Bologna concluded between the pope
and the French monarch in 1515. The page with the crown
of Lombardy in his hand behind the kneeling emperor is
the young Ippolito de' Medici, famous for his beauty and
intelligence, and so great a favourite with Leo X. that
apartments were assigned to him in the Vatican close to
those occupied by the pontiff himself.
On either side of the central group cardinals are seated
with their attendant trains behind them, and in the back
ground we see a young warrior, said to represent Pepin,
anointed by Leo III. at the same time as his father. Near

THE ' CORONATION OF CHARLEMAGNE.' 63
the altar is a raised gallery for musicians, before which offi
cers are passing with their presents for the new emperor,
and in the distance rise some fine buildings of special in
terest as they immortalize Raphael's design for St. Peter's,
never carried out.
Like the companion fresco, this fine work has greatly
suffered from decay, but again the hand of the master is
distinctly recognizable in the dramatic grouping of the
figures and the masterly treatment of the heads. Both
works are, however, inferior alike in interest of subject and
execution to those relating to Leo IV., the representation
of ceremonial affording, of course, less scope for the develop
ment of action than a battle-piece or a fire.
The first fresco from the life of Leo IV. represents his
' Victory over the Saracens,' related in the biography of the
pontiff by Anastatius the librarian, who tells us that the
Saracens, after a series of depredations along the coast of Dal-
matia, attempted to land at Ostia, but were defeated by the
Eoman fleet, aided byaterrible storm supposedto be a special
interposition of Providence on behalf of the papal forces.
The moment chosen for representation by Raphael is
immediately after the victory. Leo IV., with the features
of Leo X., is seated on some ruins near the town, his eyes and
hands raised to Heaven, in gratitude for the deliverance.
Some soldiers are forcing their prisoners to prostrate them
selves before the head of the Church, whilst others are
seizing fugitives attempting to escape from a vessel. Be
hind the pope stand Giulio de' Medici and Cardinal Bibiena,
and on the right a number of Christians are advancing in
procession to offer their congratulations to the dignitaries
of the Church.
In this fine fresco, fury, vengeance, calm triumph, fierce

64 RAPHAEL.
joy, physical agony, and bitter humiliation of spirit are
contrasted, so to speak, with the final repose of death ; the
whole set off in a touching and pathetic manner by the con
flict of the elements which goes on throughout the terrible
struggle, as if to mark the powerlessness of humanity to
ruffle the irresponsiveness of nature.
Beautiful and touching as is the ' Victory over the Sara
cens,' however, it sinks into insignificance before the fourth
and last fresco, the 'Conflagration ofthe Borgo Vecchio at
Rome,' entirely from the hand of Raphael himself — a work
of complex and beautiful design, instinct with dramatic
interest, and displaying a knowledge of the human frame
of each sex, and at every age, such as he had not betrayed
in any previous work.
In 847 a fire broke out in a suburb of Rome occupied
by Saxons and Lombards, and spread from the Vatican to
the tomb of Adrian. A terrible hurricane added horror to
the scene, and rendered useless all efforts to check the pro
gress of the flames. The holy church of St. Peter's itself
was in danger, when Leo IV. appeared in the portico of the
Vatican, and put up an earnest prayer to; God for the sal
vation of this temple. The response was immediate. The
flames, as if touched by a Divine hand, assumed the form
ofa cross and ceased to spread. The relief extended, how
ever, only to the fire near the sacred edifice, the houses on
the right and left continuing to burn for some time longer.
Raphael chose for representation the moment of the Divine
interference ; Leo IV. in the balcony with crowds falling on
their knees before him forms the background ofthe scene.
In the foreground, on the left, a small house is burning, and
on the wall a young mother is trying to place her child for
safety in the arms of a man beneath. Hard by this group,

THE ' INCENDIO DEL BORGO.' 65
in which the self-devotion of the mother and the uncon
sciousness of the child are touchingly represented, we see
a naked young man, intent only on his own safety, sliding
along a wall and calculating its height from the ground
with his eye ; and, near him again, is a strong man carrying
his old father over the falling rubbish, with his boy running
beside him.
But it is in the centre of the foreground that the interest
culminates. It is crowded with women and children in
every attitude of fear, of hope, of despair. There is a young
girl with both arms raised to Heaven ; here a little child,
kneeling to pray at its mother's bidding, that mother hoping
more from an innocent baby's petition than from her own
agonized pleading. Further back kneels a group in the
rigid calm of despair, and on the left a number of men and
women are eagerly struggling to put out the flames, their
attitudes fall of" grace and power, no attempt being made to
add to the dramatic effect by distortion of feature or of form.
In this last group the figure of the woman with blue robes
blown back by the wind, and showing the exquisite outlines
of her form, and that of the girl with a water-jar on her
head, coming down the stairs, are especially admired.
The ' Conflagration of the Borgo Vecchio ' has suffered
so much from decay that it is rather from the studies for it
than from the work itself that we can judge of its pristine
beauty. The story goes that the decay set in so soon that
Sebastiano del Piombo touched up some ofthe heads almost
before they became known to the art- world, and when show
ing the so-called restored work to Titian, the latter inquired,
" Who is the arrogant and ignorant man who has dared thus
to daub over these heads?" making his guide feel how great
had been his presumption.
R F

66 RAPHAEL.
The pictures of the socles and other minor details of the
third Stanza were executed by Giulio Romano after his own
designs ; the door between it and the Stanza della Segnatura
was adorned by Giovanni Barile the sculptor, and the
frescos of the Palafrenieri, now destroyed, were by Giovanni
da Udine.
The Loggie, or open galleries, were decorated with a
series of Biblical subjects after Raphael's own designs by
Giulio Romano and others working under him. Each of
the thirteen arcades contains four principal pictures, forty-
eight of which represent scenes from the Old Testament,
t.nd four typical incidents in our Saviour's life. They are
collectively known as " Raphael's Bible," and are supple
mented by a series of bas-reliefs in stucco and by groteschi
by Giovanni da Udine.
The story goes that the idea for these minor but most
effective details was suggested to Raphael and Giovanni on
an excursion made together to the Baths of Titus, discovered
just before the " Bible " was put in hand. Struck by the
freshness of the stucco and coloured ornaments, the two
friends carefully studied the material in which they were
oroduced, and after repeated experiments succeeded by a
mixture of travertine chalk and marble in attaining a simi
lar result.
A careful examination of the main and supplementary
features ofthe "Bible" will show a close connection and un
interrupted harmony in every part. They weld into one,
so to speak, ancient and modern times, and historical events
are set in a framework symbolic of the thought and science
of the period in which they took place.
The following are the subjects ofthe fifty-two paintings in
the cupolas of the Loggie : —

THE FRESCOS OF THE "LOGGIE." 67
In the first arcade, ' God dividing the Light from the
Darkness,' in which the Almighty is seen separating dense
masses of fiery clouds, reminding us in His majesty of form
and nobility of expression ofthe Jehovah of Michelangelo ;
' The. Creation of the Dry Land,' in which the Creator is
represented brooding over the globe, already partly clothed
with verdure ; ' The Creation ofthe Sun and Moon,' in which
God is seen with outspread arms creating the two great
lights ; and ' The Creation of Animals,' in which the Al
mighty is walking on the earth with a lion beside Him.
In the second arcade, ' The Creation of Eve,' the moment
represented being the presentation of his helpmate to Adam ;
* The Fall,' in which Eve is offering a fig to heb husband
beneath a tree with the traditional serpent with the woman's
head coiled about it ; ' The Exile from Eden,' in which an
angel with a flaming sword is driving the fallen pair before
him ; and the ' Consequence of the Fall,' in which Adam is
digging, whilst Eve is spinning, with her two boys beside
her, already in their attitudes and expressions showing how
little was the brotherly love between them.
In the third arcade, ' The Building of the Ark,' in which
Noah with the face and form of an old man is giving orders to
his sons for the construction of the ark ; ' The Deluge,' with
a group of drowning figures in the foreground and the ark
in the background ; ' The Coming Forth from the Ark,' with
the animals leaving the ark in pairs, and its human inmates
standing near gazing with gestures of dismay on the deso
lation around ; ' Noah's Sacrifice,' with the patriarch praymg
at an altar, whilst his sons bring rams, &c. for slaughter.
In the fourth arcade, 'Abraham and Melchisedek,' in
which the former is offering the latter bread and wine ; ' The
Covenant of God with Abram,' in which we see God the

68 RAPHAEL.
Father resting on clouds and bending forwards towards the
kneeling patriarch ; ' Abraham and the three Angels,' in
which three young men stand before their prostrate host ;
' Lot's Flight from Sodom,' giving the moment of the
changing of his wife into a pillar of salt.
In the fifth arcade, ' God appearing to Isaac,' who kneels
before Him, with his wife Rebecca seated under a tree near
by ; ' Isaac embracing Rebecca,' with Abimelech looking out
at them from a window ; ' Isaac blessing Jacob,' who kneels
by his father's bed, with his mother behind him and Esau
approaching from the background ; ' Esau claiming the
Blessing,' with Rebecca and Jacob looking on from the
distance. In the sixth arcade, 'Jacob's Ladder,' treated in the tra
ditional style so well known ; ' Jacob at the Fountain,' with
Rebecca talking to him, whilst her servant stands by wait
ing ; ' Jacob asking for Rachel's Hand,' with the rival
sister standing near — Leah's face and attitude full of the
deepest dejection ; ' Jacob's return to the Land of Canaan,'
accompanied by his wife, children, servants, and cattle.
In the seventh arcade, ' Joseph telling his Dream to
his Brethren,' who are seated about him on a rising ground ;
' Joseph sold by his Brethren,' and weeping whilst the
bargain with the merchants is being concluded; 'Joseph
and Potiphar's Wife ; ' ' Joseph before Pharaoh,' interpret
ing his dreams, represented in the air in two luminous
circles. In the eighth arcade, ' The Finding of Moses ' by
Pharaoh's daughter and her attendants ; ' Moses before
the Burning Bush,' with his face buried in his hands;
' The Passage of the Red Sea,' the moment given being that
of the actual overthrow of Pharaoh and his hosts ; ' Moses

THE FRESCOS OF THE "LOGGIE." 69
striking the Rock,' with God the Father hovering above,
and six men standing by.
In the ninth arcade, 'Moses receiving the Tables of
the Law,' the moment chosen the actual giving into his
hands of the tables, with the camp of the Israelites seen in
the distance ; the ' Worship of the Golden Calf,' with Moses
approaching the dancing crowds and breaking the tables of
the Law; 'Moses kneeling before the Pillar of Cloud,'
with Jehovah speaking to him from it, and the Israelites
standing at the doors of their tents ; ' Moses giving the Law
to the People ' from the hill about which they are grouped.
In the tenth arcade, ' The Crossing of the Jordan,' the
moment chosen being the actual transit ; ' The Fall of
Jericho,' with the walls and towers falling down before the
approach ofthe ark ; ' Joshua's Victory over the Amorites,'
in which the leader is ordering the sun and moon to stand
still whilst his army slay the enemy ; the ' Division by Lot
of the Promised Land,' with Joshua and Eleazer presiding
over the distribution of lots from two urns.
In the eleventh arcade, ' Samuel anointing David King,'
in the presence of his brothers, with the sacrificial altar on
the left ; ' David and Goliath,' representing the actual death
of the giant, with the Philistines fleeing from the Israelites
in the distance ; ' David's Victory over the Syrians,' in
which we see the shepherd king standing in a chariot drawn
by a pair of horses with his trophies borne before him ;
'David's first sight of Bathsheba,' who is robing herself in
a balcony near to the window from which the king is watch
ing his troops go forth to battle with the Amorites.
In the twelfth arcade, ' The Consecration of Solomon
by Zadok,' in the presence of the children of Israel; the
'Judgment of Solomon,' giving the moment of the actual

70 RAPHAEL.
decision in favour of the true mother ; the ' Queen of Sheba '
about to do homage to Solomon, who is advancing to meet
her from his throne ; and the ' Building of the Temple,' in
which Solomon is seen examining plans presented to him
by the architect.
In the thirteenth arcade, ' The Adoration of the Shep
herds,' remarkable as being one ofthe very few designs by
the old masters in which St. Joseph, who is here urging a
shepherd to draw nearer, is represented in action ; ' The
Adoration of the Magi,' giving the moment of the worship
of the most venerable of the three kings, whilst the other
two with their attendants are waiting their turn on their
knees ; ' The Baptism of Christ,' representing the actual
pouring of the water on the Saviour's head, with two angels
holding back the folds of His garments, and two flying above
Him ; and ' The Last Supper,' in which Christ is seated at
the upper end of a table, with the Apostles grouped about
Him talking eagerly.
Twelve etchings by Pietro Santo Bartoli preserve the
memory of a series of twelve subjects painted in cameo to
imitate copper, which once adorned the socle running
beneath the windows of the Loggie, but have, alas ! been
almost entirely destroyed by the scribbling of visitors.
They were executed by Perino del Vaga, and represented
a series of Biblical subjects supplementing those first
enumerated.

THE MADONNA DELLA TENDA.
From the painting by Raphael, in the Pinacothek, Munich.

CHAPTER VII.
THE CARTOONS FOR THE SISTINE TAPESTRIES
AND OTHER WORKS.
1516 TO 1518.
RAPHAEL was still at work on the Loggie of the
Vatican when he was spurred to even greater
exertions by a commission to design the cartoons for ten
pieces of tapestry for the Sistine Chapel, the ceiling of
which had been painted by his great rival, Michelangelo.
In these masterly productions the younger artist not only
surpassed himself, but worthily supplemented the work
already accomplished.
The six subjects of the ceiling were taken from the his
tory of the Creation of Mankind with grand figures of the
prophets and sibyls who foresaw the advent of Christ
beside them. In the narrow spaces above the windows
were minor designs representing the waiting in hope of the
ancestors of Christ, and in the corners of the ceiling small
scenes from the deliverance of the Israelites. Taking up
the'history of God's dealings with man at the point where
it had been laid down, Raphael decided to represent the
foundation of the Catholic Church, filling the lower part
of the walls with ten subjects from the lives of the apostles
Peter and Paul, and from that of St. Stephen, the first

72 RAPHAEL.
Christian martyr. For the space above the altar he designed
a ' Coronation.of the Virgin,' and later a seal was set, so to
speak, on the whole of the productions of the two master
minds by the painting of Michelangelo's ' Last Judgment.'
The ten tapestries after Raphael's cartoons, the history
of which will be given below, were woven and worked
under the superintendence of Bernard van Orley, at Arras,
and arrived in Rome in 1518. They were exhibited in the
Sistine Chapel in the following year, but they have since
undergone many vicissitudes and have endured terrible
things at the hands of those ignorant of their priceless value.
After the pillage of Rome in 1527 they were carried off
as spoils of war to Lyons, where they were hidden until
1530, when they were offered for sale in that town. Who
bought them is unknown, but in 1533 they passed into the
hands of Constable Montmorency, who had them restored
and gave them back to Julius III. as the property of the
Papal See. They were then exhibited every year at the
feast of Corpus Christi until 1789, when, with other tapes
tries, they were stolen and nearly destroyed by some Jews,
who burnt one, ' The Deliverance from Hell,' for the sake
of the gold in it, and sold the others to some Genoese mer
chants. In 1808 they were redeemed by Pius VIL, and in
1814 placed in the Vatican, where they have since been
allowed to remain.
The cartoons themselves remainedneglectedandforgotten
at the Arras manufactory until 1630, when seven of them,
the other three having mysteriously disappeared, were seen
by Rubens, who gave such a glowing description of them to
Charles I. that he induced that monarch to purchase them
for his Whitehall palace. They were bought for the
nation by Cromwell after the death of Charles for the sum

THE CARTOONS. 73
of £300, and some years later were about to be sold to
Louis XIV. by Charles IL, when Lord Danby interfered
to retain them in England. In the time of William III.
they were placed in a room in Hampton Court Palace
specially built for their reception by Sir Christopher Wren,
and remained there until a few years ago, when Queen
Victoria lent them to the authorities of the South Ken
sington Museum, where they have become so well known
and are so easily accessible to the student that a detailed
description is unnecessary.
They represent the ' Miraculous Draught of Fishes,' the
greater part of which is from Raphael's own hand, a
masterpiece of drawing in very good preservation;
' Christ's Charge to Peter,' the figure of the Saviour
only by Raphael himself ; ' St. Peter and St. John
Healing the Lame Man,' the greater part by Giulio
Romano, though the head of the second cripple dragging
himself along is from Raphael's own hand ; ' The Death of
Ananias,' one ofthe finest of the cartoons, most of the heads
being by the great master himself ; ' Elymas the Sorcerer
struck Dumb,' which has suffered greatly, though the hand
of the master is still recognizable in its ruins ; ' Paul and
Barnabas at Lystra,' the actual execution of which is by
Penni, though it was touched by Raphael himself; and
' Paul Preaching at Athens,' chiefly from Raphael's own
hand. The three lost cartoons represented ' The Martyrdom of
St. Stephen,' ' The Conversion of St. Paul,' and ' St. Paul
in Prison.' All were alike supplemented by designs to be
woven on to the lower part of the large tapestries, in imi
tation of architectural socles in relief, these designs repre
senting scenes from the modern history ofthe Church, form-

i II

o <

M

FACADE OF &AN LORENZO. 75
¦ ing a kind of continuation of that of its early days as given
in the main pictures. ' The Coronation of the Virgin,' re
produced in tapestry for the altar of the Sistine Chapel, evi
dently closed the grand Christian epic in a manner worthy
of the preceding cantos ; but the work itself and the cartoon
for it have alike perished, and we know it only from the
engraving after it by the celebrated master of the Die.
In 1516 Raphael was summoned to Florence by Leo X.
to compete with Michelangelo, Baccio D'Agnola, Giuliano
da San Gallo, and Andrea and Jacopo Sansovino for the
honour of supplying the design for a facade to the church
of San Lorenzo, erected under Julius II. by Brunelleschi.
The jealousy of Michelangelo, who was indignant that
anyone, however distinguished, should be allowed to com
pete with him, caused a long delay in the sending in of the
designs of hisrivals. The old architectwas too highly valued
to be slighted, and the Pope was weak enough to yield to
his wishes that he should be sole architect. Raphael, how
ever, executed a design, the first sketch of which alone has
been preserved. This sketch is now in the Albertina Col
lection at Vienna, and is remarkable for its combined light
ness, richness of detail, and general picturesqueness of effect.
Had it been carried out it would have made the church of
San Lorenzo worthy of the great architect who left it un
finished; but partly owing to the interference of Michel
angelo, partly to the fact that nothing but Tuscan marble
was considered sufficiently good material by the Pope, Bru
nelleschi's work was never completed.
Two fine memorials of Raphael's visit to Florence, and
of his worthiness to be the competitor of Michelangelo in
his own field, exist in the Pandolfini and Uguccioni palaces,
both after his designs, and considered to be among the

76 RAPHAEL.
most beautiful private houses in the city. The main fea
tures of the former, now the property of the Countess Nen-
cini, are a principal facade some seventy feet wide, with
four windows surmounted by alternate circular and trian
gular pediments, and a beautiful " loggia," about thirty-six
feet wide, in the lower part of the garden facade ; the ar
cades of this loggia supported by graceful columns with
capitals representing foliage and dolphins.
The second palace, on the Piazza di Gran Duca, is cha
racterized by a balcony with double balustrades extending
along the whole width of the house, and a series of trian
gular pediments with Corinthian capitals above the windows
of the second storey. This building has never been com
pleted, and still wants the beautiful Corinthian cornice to be
seen in the model. The cost of suitable materials in those
days often led to the stoppage of the finest works in the
very midst of their erection, and the apathy of future genera
tions has either left them as they were when their great
architects were compelled to turn to other commissions, or
allowed them to be completed in an inferior manner.
Back again at Rome in 1516, Raphael was overwhelmed
with commissions, many of which he was compelled to de
cline, whilst he passed on others to his numerous pupils,
making time to give them hints and sketches in the midst
of his own almost overwhelming work, thus laying the
permanent foundations of the great Roman School, of which
the most distinguished members were Giulio Romano,
Francesco Penni, Timoteo della Vite, Perino del Vaga,
Bacchiacca, Giovanni da Udine, Innocenzio da Imola, Bag-
nacavallo, and Dosso Dossi.
We also meet with proofs of the warm sympathy and
open-handed help given to others by Raphael at this time,

THE CARDINAL'S BATH-ROOM. 77
the very zenith of his career, in the accounts of his pleading
with the Chancellor Turini in favour of a political agitator
who had got into trouble with the usurper, Lorenzo de'
Medici ; in a letter alluding to drawings presented to his
fellow-townsman Antonio Battiferri for frescos for his house
in Urbino; and in minor allusions to "our dear Raphael's "
advice and assistance in the letters of his friends Cardinals
Bembo and Bibiena.
One of the first important commissions undertaken by
Raphael after his return to Rome was the decoration of a
bath-room in the Vatican for the last-named cardinal ; the
subject he was requested to illustrate being the working of
love in nature. To the sudden departure of his employer
from Rome after the commencement of this work we owe
one of the few — far too few — quotations of the actual words
of Raphael to be found in contemporary correspondence.
Writing to Bibiena, Cardinal Bembo says, after alluding to
Raphael's portrait of Antonio Tebaldeo as the most striking
resemblance he had ever seen : " I had written as far as
this in my letter when Raphael himself came in. He seem s
to have guessed that I was writing about him. He begs
me to add this, that you will let him know the other sub
jects you desire to have in your little bath-room ; send him
a description of them, for the subjects already decided on
will be commenced this week. . . . He wishes me to tell you
that he has decided to remain this summer in Rome, in
order not to change his good customs, and also because
Monsignor Tebaldeo wishes it so much."
A later letter from Bembo to the same correspondent
alludes to " Raphael, whom you love so much," " your Ra
phael," and so forth, showing in what high esteem the young
painter continued to be held by these two great dignitaries

78 RAPHAEL.
of the Church of which all three were such devoted
members. Assisted by Giulio Romano and other pupils, Raphael
carried out his instructions with regard to the bath-room
in a masterly manner. The vaulted ceiling, divided into
several compartments, is decorated with a series of small
scenes illustrative of the struggle of fallen nature with
love and with beauty. Wild beasts are preying upon
peaceful ones, women are guiding wild bulls and spirited
horses, cupids are looking on in various attitudes.
Beneath the ceiling and in the upper part of the walls
are seven scenes, symbolical of the power of beauty and
love. In the first we have the 'Birth of Venus,' in which
we see the Venus Anadyomene issuing from the foam
of the sea, resting her left foot in a shell and holding back
her long hair with one hand as she gazes thoughtfully
across the wide expanse of ocean. In the second Venus
and Cupid are seated on dolphins, the goddess of love
looking over her shoulder with an expression full of charm
and sweetness, whilst her companion eagerly urges on his
steed. In the third Venus is seen pressing her hand upon
her wounded heart, and looking in vain for sympathy from
Cupid, who is seated near. In the fourth we have Jupiter
and Antiope, sometimes called Pan and Syrinx, the nymph
fresh from the bath, and combing out her long hair, whilst
Pan watches her from the foliage near. In the fifth
Venus drawing a thorn from her foot — since removed, and
only known from the copy of it in the Villa Palatina — a
charming rendering of the legend telling how the shedding
of a single drop of blood from the wound dyed the white
rose on which it fell red. In the sixth we have Venus
and Adonis, the former lying with her head on her

FRESCO DECORATIONS. 79
lover's knees, who is seated beneath a tree ; and in the
seventh and last, a feeble work executed by an inferior
hand, we see Pallas engaged in her famous struggle with
Vulcan. Beneath these large designs are six victorious cupids.
There were originally seven — one under each scene from
the life of Venus — but one has been quite rubbed out, and
the others have suffered considerably. The outlines are
exquisite, but the execution of the whole is feeble.
Strange to say, no particular surprise was excited on
the exhibition of these frescos in the bath-room of a digni
tary of the Church vowed to celibacy. The greatest enthu
siasm was expressed for them, and they were looked
upon as a natural outcome of the reverence for physical
beauty, especially of the antique type, characteristic of the
day. The greater number were reproduced in the Villa
Palatina — a fortunate circumstance, to which alone we owe
our knowledge of what they must have been as a whole,
before the decay set in which has now all but obliterated
them. A villa long erroneously known as that of Raphael, which
was destroyed in 1848, contained a number of frescos
ascribed to him, of which one only — fortunately removed
before the catastrophe — was genuine. This was the
' Marriage of Alexander and Roxana,' a charming com
position supposed to have been borrowed from a de
scription of an antique painting by iEtion, in which we see
the victorious warrior conquered by his captive and ap
proaching her with a crown in his hand. Roxana seated
on a bed is attended on by cupids, who are removing her
veil and sandals. Behind Alexander stand Ephestion
and Hymen, whilst a number of small cupids play with

80 RAPHAEL.
the warrior's armour, just laid aside. Of other frescos after
Raphael's designs executed in various Roman houses we
may mention as one of the most celebrated the ' Martyr
dom of St. Cecilia,' which adorned the chapel of a little
hunting-box called the Magliama, and after being cut in
half by the piercing of a gallery was removed and sold by
auction in several pieces.
The activity of Raphael during the last years of his
life was marvellous. Amongst the pictures sent from
Rome between 1516 and 1518 was the grand 'Christ
bearing the Cross,' now in the Madrid Museum, painted
for the church of the monks of Monte Oliveto, Santa
Maria della Spasimo, at Palermo. In it we see the Saviour
sinking beneath the weight of His Cross and turning to the
women who follow Him, amongst whom we recognize the
Virgin, bowed down with grief and supported by St.
John, with Mary Magdalene close at hand. In the fore
ground kneels a woman raising the Virgin's veil, and be
hind her another is clasping her hands together in agony.
Simon of Cyrene is offering to carry the Cross on his own
shoulders ; a soldier raising his spear to strike the Saviour
compels Him to advance, whilst another is dragging Him
up with a cord. The procession is headed by a horseman
carrying a banner, and from the town close by we see the
Roman judges, citizens, and soldiers issuing on their way
to witness the execution.
The arrangement of the whole composition is perfect.
Quoting from our translation of Passavant's description of
the work : " There is not one superfluous figure ; the
heads are all admirably true to nature, and nothing could
exceed the beauty of the Saviour's figure. The divine
majesty of suffering, the noble courage to endure, the

'LO SPASIMO.' 81
human weakness and shrinking from pain, combined with
heavenly resignation to His Father's will, which were
united in the great ideal of Christendom, are expressed in
a manner worthy ofthe subject ; and, although 'Lo Spasimo
di Sicilia,' as the picture is often called, was intended for
a large church, and would only be seen at a distance,
the treatment of the details and the delicacy of the
colouring are no less remarkable. Note, for instance, the
hand of Christ, which rests on the ground : the drawing
and execution are alike faultless, and it is besides of ideal
truth and beauty. Or, again, see how the frail and at
tenuated figure of the Saviour contrasts with the strength
and energy of Symon of Cyrene or with the coarse health
of the executioners."
This grand work had a very miraculous escape on its
way to Palermo. The vessel containing it was wrecked,
and all on board perished. The picture, however, packed
in an air-tight and water-tight case, floated into the port
of Genoa, and when found threw the inhabitants of that
town into a perfect frenzy of delight over their acquisition ;
but news of its preservation soon reached the ears of the
monks of Palermo, and the Pope compelled the finders of
the prize to yield it np to its rightful owners. It was
bought by Philip IV., many years later, for the Madrid
Museum, and but for a visit to Paris, in the time of Napo
leon, has remained there ever since.
Of the other easel pictures and altar-pieces dating from
this period, only the most remarkable can be described.
The ' Visitation,' now in the Madrid Museum, was painted
for the church of San Silvestro at Aquila in the Abruzzi, and
was so highly valued that a law was passed in 1520 in which
it was decreed that no copy should ever be made of it. It is
R G

82 RAPHAEL.
almost entirely from Raphael's own hand, and is full of
refined beauty, though the head of the Virginis considered
scarcely worthy of the master. St. Elizabeth, on the
other hand, has a face so full of life and intelligence
that we seem to hear her speak as she advances to meet
her cousin and earnestly presses her hand in congratula-
tion. For the Duke of Mantua, Raphael painted a 'Holy
Family ' illustrating the joys of home life, and now in the
Madrid Museum, which is known as the ' Pearl,' the King
of Spain having exclaimed " This is my pearl ! " when he
saw it for the first time. It was amongst the pictures
bought by Charles I. of the Duke of Mantua. Designed
by Raphael, and executed by Giulio Romano, it received a
few finishing touches only from the master's own hand, bnt
those touches were enough to give it the subtle charm
peculiar to all Raphael's ' Holy Families.'
The Madrid Museum possesses two other ' Madonnas '
after Raphael's designs, known as the Holy Family under
the oak-tree, and the Virgin with the rose or with the
legend. Great doubts exist as to which of the great master's
pupils actually executed them, but they are undoubtedly by
members of the Roman school who took their inspiration
direct from its founder.
All these works, beautiful as they are, are inferior in
popularity and poetic feeling to the world-famous ' Madonna
della Sedia,' now in the Pitti Gallery, Florence, produced
by Raphael in a moment of inspiration, and instinct alike
with religious feeling and human love. It is in a word a
glorification of the relation of mother and child, rather than
a traditional ' Holy Family.' The Virgin, whose head is
of incomparable beauty, looks at the spectator with an ex-

THE MADONNA DELLA SEDIA.
From tie painting by Raphael, in the Pitti Palace. Florence.

THE ' MADONNA DELLA TENDA.' 83
pression of intense sweetness ; the infant Saviour, resting
Hi3 cheek against His mother's, gazes in the same direction
with eyes full of child-like innocence and simplicity, whilst
on the right, John the Baptist, every feature softened by
enthusiasm and reverence, looks up in adoration. This
picture takes its name from the chair in which the Virgin
is seated. It has been reproduced in every conceivable
medium, but no copy or engraving has yet been made which
can at all compare with the original. It is related that
Passavant was allowed as a great privilege to examine it
closely on an easel, and found to his surprise, that instead
of being blended together, the different tints were laid side
by side with such consummate knowledge of chiaroscuro
as to seem at a little distance to melt into each other with
out break or transition.
The ' Madonna della Tenda ' in the Pinacothek of Munich,
and the ' Madonna of the Candelabra,' now in the posses
sion of the Munro family, bear some resemblance to tho
' Madonna della Sedia.' The Virgin in the ' Madonna of
the Candelabra ' is specially admired, her expression as she
looks down seeming to imply in its solemn humility her
consciousness that her child is the Son of God and the
Saviour of the world. Another version of this picture is
in the possession of Mr. J. C. Robinson.
Next in order were produced the two masterpieces known
as the ' St. Michael ' and the large ' Holy Family ' painted
by order of Lorenzo de' Medici for Francis I., whom the
Duke hoped thus to bribe to support his unjust claims to
the duchy of Urbino. The ' St. Michael ' is a magnificent
work, representing the irresistible power of the Divine will
over evil. The archangel, a youth of ideal beauty, with
the vigour of full-grown manhood, is flying down from

84 RAPHAEL.
heaven and just touches the prostrate devil with one foot,
the ugliness of the enemy serving but to heighten the effect
of the majestic loveliness of his conqueror.
The large ' Holy Family,' so named on account of its
being the largest work of the kind painted by Raphael, is
remarkable for the grandeur and harmony of the grouping,
the purity of the style, and the way in which a simple do
mestic scene is made to express the reverent love with
which the Holy Child was hedged about in His early home.
Giulio Romano is supposed to have taken considerable part
in both these works, but Raphael completed them him
self, adding his name with the date 1518. They were sent
on mules from Rome to Fontainebleau, where Lorenzo de'
Medici was staying at the time, and appear to have suffered
terribly on the journey. In spite of this, however, their
beauty excited the greatest ¦ enthusiasm in Paris, and
Francis I. did all in his power to induce their painter to visit
him in his capital. Raphael's numerous engagements in
Rome prevented his compliance with the French monarch's
wishes, but he accepted a number of commissions, including
the drawing of the cartoons for a series of tapestries with
subjects from the life of Christ for presentation to the Pope.
Sketches were made by Raphael for this new series of
tapestries, but he had only completed the cartoon for one,
the ' Massacre of the Innocents,' when death cut short his
career, and the remaining designs were executed by his
pupils. Quite a romantic story is attached to the history of this
one cartoon, which, after being duly reproduced in tapestry
under the superintendence of the great master's pupils, was
cut into a number of pieces in order to be divided amongst
the heirs of its owner. One piece, embracing the whole ofthe

THE HOLY FAMILY.
From the painting by Raphael, in the Louvre.

THE ' MASSACRE OF THE INNOCENTS.' 85
lower portion, was pledged in London by its unknown owner,
and the pawnbroker, wishing to keep it, covered it with oil-
colours to disguise its true value. A lawsuit was the re
sult, and after many vicissitudes the fragment became the
property of our National Gallery, and is now exhibited
under glass and scarcely recognizable ; a second fragment
is in Lord Spencer's collection ; a third in Christ Church
Library, Oxford ; the remainder, amounting it, is supposed
to more than forty fragments, are dispersed and probably
hopelessly lost.
In its entirety this unfortunate cartoon appears to have
been a masterly rendering ofthe terrible tragedy from which
it took its name ; the figures of men, women, and children
remind the spectator, in their forcible expression of triumph
and of mental and physical agony, of those in the frescos of
the Incendio del Borgo. The cartoons executed after Ra
phael's death by his pupils are in every respect inferior.
They represent ' The Adoration of the Shepherds,' ' The
Adoration of the Magi,' ' The Presentation in the Temple,'
' The Resurrection of Christ,' ' Christ Appearing to Mary
Magdalene,' ' Christ in Hades,' ' Christ at Emmaus,' ' The
Ascension,' and ' The Descent of the Holy Ghost.'
The beautiful ' Saint Margaret ' of the Louvre, though
almost entirely by Giulio Romano, is supposed to have been
designed by Raphael for Francis I. in allusion to the name
of that monarch's sister, Marguerite of Valois. It is an
exquisite rendering of the legend, telling how St. Margaret,
the fair and spotless maiden, conquered the dragon by the
power of her purity alone, and in the expression of her face
and the arrangement of the draperies we recognize the
master's touch.
Vet another picture is mentioned as having been painted

86 RAPHAEL.
by Raphael for Francis I., the portrait of Joan of Aragon, of
which the head alone was, however, executed by the great
master himself, the remainder being by Giulio Romano.
This Joan of Aragon was one of the most famous female
wits and beauties of the sixteenth century ; she is repre
sented in the portrait seated and turning to the left ; her
blue eyes, arched eyebrows, broad white forehead, delicate
nose, and well-cut mouth, combine to form a most pleasing
face, but there is a certain hardness about the outlines
which is quite a novel feature in anything by Raphael.
It is in the likenesses of Leo X. and his two nephews,
Cardinals Giuliano de' Medici and Ludovico de' Rossi, that
Raphael has surpassed himself and all contemporary artists
as a portrait painter. The pope is seated in an arm-chair
and turning to the left. He seems to be addressing some
one opposite to him, and a single glance at his face tells us
his character ; his mode of speaking, in a word, shows us
himself as he was in life. The heads of his companions
are scarcely less admirable, and the group as a whole is
considered one of Raphael's greatest masterpieces, occu
pying with its grandeur of style and execution, truth of
colouring, and wonderful distribution of chiaroscuro, quite
a unique place in the history of art. It is related of this
picture that Baldassare Turini, president of the chancery,
was so struck by its vivid resemblance to the pope, that
he took it for reality, and, kneeling before it, offered the
pontiff a pen and ink to sign some bills.
Other fine portraits, produced about the same time as that
of the pope, are those of the Lorenzo de' Medici, now lost ;
of Cardinal Borgia, in the Borghese palace, Rome; of Arch
deacon Carondolet, in the Duke of Grafton's collection; ofa
young violinist, supposed to be Andrea Marone, an impro-

- -
:--:'Jt,i:m?t

BSfJl

Up

SP*

'jJ0HH

8*^

M

/*f

3HiiM

V|iVMi0l

A

POPE LEO X., WITH CARDINALS GIULIO DE MEDICI AND LUIGI DE ROSSI.
From the painting by Raphael, in the Pitti Palace, Florence.

PORTRAITS. 87
visatore of Brescia, now in the Sciarra Colonna palace at
Rome ; and that known as Raphael's mistress in the Pitti
Gallery, Florence. The last, a truly remarkable work,
represents a beautiful Roman girl, seen three-quarter face
and turning to the left. The face is of a perfect oval, and
is set off by masses of hair parted in the middle and put
back behind the ears. The dark eyes are lustrous and full
of life ; the nose is rather short, the lips are well formed,
and parted by a smile ; but before the spectator can note
these details, he is struck by the resemblance of this fair
young girl to the ' Madonna di San Sisto,' leaving no doubt
that it was his Margareta who inspired Raphael with the
first idea of the most divine of all his impersonations of
the Virgin.

CHAPTER VIII.
LAST WORKS AND DEATH.
1518 TO 1520.
WHILST Raphael was engaged in the production of
the long series of Madonnas and portraits noticed
in the last chapter, the Benedictines of Placentia asked
him to paint for them a picture which should introduce the
Madonna and Child, St. Sixtus, and St. Barbara. Itwas the
last ' Holy Family ' created by the great master, and as if he
knew it would be so, he concentrated in it every excellence
which he had ever before attained, producing a work be
fore which the greatest masters in art, the most reverent
and the most sceptical, alike bow their heads in devo
tion. The Dresden gallery now holding this priceless
treasure is visited by young and old, rich and poor, who
stand or kneel entranced before it. Old women, we are
told, have often been seen to shed tears before it, and then
totter away again to their work, with a new light in their
faces, new hope in their hearts.
The Virgin stands on a mass of clouds with Jesus in her
arms, and gazes out of the picture with an expression of
heavenly calm. A glory of countless cherubs' heads, each
one of angelic beauty, forms a semicircle about her head

THE ' MADONNA DI SAN SISTO.' 89
and shoulders. The Divine Child, though retaining the
¦ simple child-like grace of Raphael's other impersonations
of the Infant Saviour, is here endowed with all the attri-
: butes of the Son of God : in his earnest, penetrating glance
we read the conscious power of the Saviour of our race
and of our future Judge. It is almost impossible to turn
from the Mother and Child to examine the two saints kneel
ing in adoration below, yet they are both noble and lifelike
figures, full of a majesty of their own. St. Sixtus seems
to be pointing to his people beneath, and is probably asking
for a blessing on them. St. Barbara is gazing down with
a face full of love on the faithful below. Two little angels
leaning on a balustrade and looking up complete the group,
and give it, so to speak, a human element, their faces being
merely those of happy children.
It was the ' Madonna di San Sisto ' which first won for
Raphael the surname of the Divine. It seems to have been
painted by him in a moment of inspiration, to be the im
mediate outcome of his own personality, deeply imbued as
was that personality with religious enthusiasm and reve
rence. In vain have other artists endeavoured to reproduce
its subtle charm : the outlines elude the copyist ; they
are so simple, the rt erest tyro in art would fancy he could
trace them for himself, and yet Francia, the humble, devout
painter of sacred subjects, second to Raphael alone in reli
gious feeling, is said to have laid down his pencil in despair
before this divine creation.
The monks of Placentia retained their treasure in the
church of their monastery until about 1794, when it was
bought by Augustus III., Elector of Saxony, for 60,000
florins. It was received at Dresden with great enthusiasm,
the Elector's throne being moved to make room for it in the

90 RAPHAEL.
best-lighted place in the gallery, and a little later it was
cleaned and varnished by Palmaroli — a terrible result en
suing, which agitated the whole art-world with a fear that
the masterpiece was ruined. The picture appeared covered
with stains, and it was supposed that it had been too much
cleaned. The fact was, however, that the colours had
become very dry — an evil which was only quite recently
remedied by bathing the back of the canvas with vola
tile oil, restoring the masterpiece in a very few hours to
its pristine beauty.
About the time of the production ofthe ' Madonna di San
Sisto,' Raphael designed a small 'John the Baptist,' now in
the Tribuna, Florence, for Cardinal Colonna, .who is said to
have presented it to his doctor, Jacopo da Carpi, after re
covery from a dangerous illness. It has been very much
admired, and frequently copied, but it is inferior alike in
drawing and colouring to most of the great master's works,
and he is supposed to have taken but small part in its actual
execution. The famous frescos of the Farnesina palace, ordered long
ago by Agostino Chigi, were now put in hand. The sub
ject chosen by Raphael was the fable of Psyche and Cupid,
and had he been able himself to carry through the work,
we should probably have had a series of compositions equal
to those of the Vatican. Overwhelmed with work, and,
perhaps, already feeling the approach of the sudden
illness which was so soon to cut short his brilliant career,
the great master was only able to execute the cartoons for
some of the designs, and to paint with his own hand one of
the three graces — that seen from behind in the group in
the second of the penden tives or triangular pictures. This
one figure, however, with its masterly drawing, refined exe-

decoration op the farnesina palace. After Raphael's design.

92 RAPHAEL.
cution, and exquisite colouring is enough to redeem the
whole, and serves to mark the pre-eminence of the master
over the best of his pupils.
The cartoons designed by Raphael himself were for the
ceiling only of the Farnesina palace. They consisted of
two large pictures, one representing the 'Assemblage of
the Gods,' in which we see Cupid defending himself before
Jupiter, Juno, and a crowd of minor deities, against the
accusatious of his mother, Venus, whilst Mercury offers
Psyche the cup of ambrosia which is to render her immor
tal, and the 'Marriage of Cupid and Psyche,' in which we
see the gods at the wedding feast reclining in attitudes of
easy grace on either side of the table, at which the newly-
united pair preside. These central pictures are set in a
framework, so to speak, of smaller subjects from the lives
of Venus, Cupid, and Psyche, ten decorating the penden-
tives and fourteen the lunettes of the ceiling.
Executed in a somewhat heavy style by Giulio Romano,
Francesco Penni, and Giovanni da Udine, the frescos them
selves, grand as they undoubtedly were in design, so dis
appointed the public that a perfect chorus of lament was
set up over the supposed failure of the great master's
power. Complaints of his decadence reached Raphael's
own ears, and it is said that he then and there resolved to
produce a masterpiece without assistance which should
prove how erroneous was the impression afloat. The result
of this resolve was that heirloom of the world, the ' Trans
figuration;' but other tasks claimed the master's attention
before he could put it in hand, and at the time of the com
pletion of the Farnesina frescos he was labouring heart
and soul at a scheme totally unlike anything else he had
before attempted.

THE FARNESINA PALACE. 93
Long years before the young artist, in his first enthu
siasm for everything connected with the Imperial city, had
endeavoured to discover the plans of ancient Rome from
what remained of its earliest buildings, and from descrip
tions in Latin authors, and he now aspired to restore his
adopted home to its first grandeur. A letter is preserved
from Raphael to Leo X. referring to an order received from
the pontiff for the execution of a plan of the city of Rome,
making drawings of the buildings, &c, in which the
master bitterly laments the decay of the historical monu
ments, and gives a summary of the characteristics of the
various styles of architecture which had prevailed from
the earliest times to his own, winding up with an earnest
entreaty that further destruction might be stopped, &c.
What effect this interesting letter had on the person to
whom it was addressed there is no evidence to show, but
in other contemporary MSS. we find reference to the send
ing by Raphael of artists all over Italy and Greece to col
lect studies from old monuments, and it is impossible to
say how the aspect of Rome might have been changed had
the master lived to carry out half his schemes of restoration.
Whilst waiting to mature his plans Raphael wrote a
treatise on art with historical notes, now unfortunately
lost, but from which Vasari drew largely in his celebrated
biographies of artists, and he also accepted a commission
to paint the large hall known as the Sala di Costantino
leading to the Pope's apartments in the Vatican. He in
tended in the new series of frescos to symbolize the power
of the Church by the representation of the most noteworthy
events in the reign of Constantine, and with a view to ob
tain greater permanency and force of colouring, he. decided
to employ oil-colours instead of frescos. He , prepared

94 RAPHAEL.
drawings for the whole series, and had the figures of
Justice and Meekness painted in under his own eye by
Giulio Bonasone and Francesco Penni, on either side of
the space to be occupied by the 'Battle of Constantine,' but
here death interrupted his labours and his pupils carried
out the remainder of the work in fresco.
The four large paintings intended to imitate tapestry
adorning the walls of the Sala di Costantino were very
unequally executed after Raphael's designs by his pupils.
They were supplemented by a series of figures of the popes,
one on either side of each picture, and by a succession of
wall pictures partly by Giulio Romano and partly by dif
ferent members of the same school. The large pictures
alone, as having been designed by Raphael himself, will be
described. In the ' Address of Constantine to his Troops ' we see
the Emperor standing on a platform on the left with a
Roman Captain beside him, relating his vision to four
standard-bearers, who are listening to him eagerly. In the
distance is seen the apparition of the shining cross with
the inscription " En touto niha " (By this sign thou wilt
conquer), and beneath it soldiers, in surprise and terror at
the marvellous sight, are hurrying restlessly to and fro
amongst the tents. The deformed dwarf on the right is
an addition by Giulio Romano.
' The Battle of Constantine,' the largest historical subject
ever painted, was entirely designed by Raphael, and exe
cuted by Giulio Romano. It is full of life, spirit, and dra
matic power, and gives many a touching episode redeeming
the horror of the conflict. The scene is laid on the banks
of the Tiber, and the chain of the Monte Mario hills forms
the background.- Constantine himself, mounted on a

THE BATTLE OF CONSTANTINE.
kino," in the Vatican, Rome. — Designed by Raphael and executed after his death by Giulio Romano.
rio hills, with Mount Jamculnm and Ponte Molle on the right. In the centre of the picture Constantine is dashing across the battle-field
&xentius, who, with his army, is driven back into the Tiber. This grand composition is nearly eighteen feet- in length.

'THE BATTLE OF CONSTANTINE.' 95
powerful war-steed, occupies the centre of the picture, and
is driving Maxentius and his troops into the river. Above
the struggling hosts hover three angels with flaming
swords proclaiming that the victory is Constantine's, and
in the distance fugitives are hurrying over the bridge.
' The Baptism of Constantine ' is very inferior to the two
paintings just described ; Francesco Penni, who executed
it, made many unjustifiable deviations from Raphael's
designs. The Emperor kneels at the font in the Baptistery
of the Lateran, still in Rome in perfect preservation, whilst
Pope Sylvester, with the features of Clement VII., pours
water on his head. Crispus, the son of Constantine, awaits
his turn to receive the initial sacrament of his new faith,
church officials and pages are in attendance, and a Roman
family of converts to Christianity complete the group.
'Constantine's Donation of Rome to the Pope,' the
fourth and last fresco, gives a true copy of the interior of
the old church of St. Peter, in which we see St. Sylvester
seated on a throne in the background, and blessing the
kneeling Emperor, who is presenting him with a golden
figure representing Rome. Crowds of attendants are
grouped about the two chief personages, and amongst them
we have portraits of Giulio Romano, the poets Pontano and
Murello, and of our old friend Castiglione. The nude
figure of a boy on a dog, and several groups of spectators,
were added by Giulio Romano, and, though very beautiful,
appear somewhat out of character.
Almost simultaneously with the cartoons for the Sala di
Costantino the greatest and last of Raphael's oil-paintings,
the ' Transfiguration,' alluded to above, was put in hand. It
was ordered for a church in Narbonne by Cardinal Giu
liano de' Medici, who at the same time, at the suggestion of

96 RAPHAEL.
Michelangelo, gave to Sebastiano del Piombo a commis
sion to paint a ' Raising of Lazarus.' The story goes that
Michelangelo himself made several drawings for the latter
work, hoping with Sebastiano's brilliant colouring to sur
pass anything Raphael could produce.
Spurred on to even more earnest efforts after perfection
by the strange jealousy of his great contemporary, Raphael
set to work. Dividing his subject into two distinct parts,
he gave in the upper portion of the picture a grand, we
may almost say a divine representation of the actual
Transfiguration, and in the lower a touching rendering of
the episode of the failure of the disciples to cure the de
moniac boy.
In the ' Transfiguration ' itself we see the Saviour rising
into the air above Mount Tabor in the midst of a light so
glorious as to dazzle the spectator, and with Moses and
Elijah also uplifted from the earth on either side. The
moment is that of the bursting forth from the clouds of the
words, " This is my beloved Son, hear Him ;" and the -
apostles Peter, James, and John, overwhelmed with awe,
have prostrated themselves upon the mount. The whole
scene is, as it were, bathed in reverent solemnity, a solemnity
a little marred, however, by the introduction ofthe figures
of Saint Julian and Saint Lawrence, who, though they
kneel in adoration, do not appear to be impressed by a
sense of the awful nature of the scene in which they bear
a part to which they have no right. These saints are sup
posed to have been added at the request of Lorenzo de'
Medici in honour of his father and uncle, who were named
after them.
A touching contrast to the glorious ' Transfiguration,' in
which the human nature of our Lord is altogether merged

LAST WORKS AND DEATH. 97
in the divine, is presented by the agony of tho father in
the scene below, when he finds his hopes of his son's cure
disappointed, and for a moment we are almost angry at
being thus recalled to a sense of the miseries possible in
our earthly career. But as we look more closely into the
picture and note the gestures of the disciples pointing up
wards to Him who alone can help, the beautiful harmony
of the whole is suddenly revealed, and with the sufferers
we are content to wait until the word is spoken which shall
rebuke the devil and say to the tempest-tossed soul, " Peace,
be still."
In the upper part of the ' Transfiguration ' Raphael i3
said to have followed a traditional type ; but this must not
be allowed in any way to lessen our admiration for the
exquisite beauty of the execution and colouring, or the
wonderful suggestiveness of the whole. In the 'Madonna
di San Sisto,' last of his ' Holy Families,' alone did the
great master attain to anything like the same celestial
beauty, and it seemed when these two paintings were pro
duced as if a new and yet more glorious chapter than any
which had preceded it was about to open in the history of
sacred art.
But, alas ! this was not to be ; ' The Transfiguration '
was not quite completed when Raphael was struck down
by fever. Many have been the tales with regard to the
cause of this sudden illness, and until quite recently it was
supposed that it was due to excesses altogether alien to the
nature of the sufferer. Fortunately, however, modern re
search has proved that over-devotion to his work was alone
to blame for the terrible tragedy ushered in thus quietly.
Whilst at work one day at the Chigi Palace, Raphael was
sent for to the Court, and a little annoyed at the interruption,
R H

98 RAPHAEL.
he hurried off, arriving at the Vatican overheated and tired.
Standing about in the draughty loggie, talking to the
Pope about the alterations going on at St. Peter's church,
he caught cold, and on his return home was so ill as to be
compelled to take to his bed. It was at first supposed by his
many friends that he would soon rally, but he himself seems
to have known from the first that his last hour was approach
ing, and he lost not a moment in setting his affairs in order.
The terms of Raphael's will left the young girl Mar
garita, to whom he had been faithful to the last, amply
provided for, and his relations at Urbino received each a
thousand golden ducats. To Cardinal Bibiena he be
queathed his beautiful house near the Vatican ; and all his
art treasures, with the sacred privilege of completing his
unfinished works, he gave to his pupils Giulio Romano and
Francesco Penni.
Already, long before, Raphael had caused one of the
chapels in the Pantheon to be restored to receive his
tomb, and he now ordered the vault to be prepared and a
house to be bought, the rent of which was to pay for the
service of the chapel and the prayers of the chaplain
appointed to offer up annual masses for the repose of his
soul. As executors he appointed his old friends Bal
dassare Turini of Pescia, and Giov. Battista Branconio
dall' Aquila ; and having thus provided for every possible
contingency, he received the last sacraments of the Church
and calmly awaited death.
Tradition, which had so much to say about the com
mencement of Raphael's career, tells us very little of its
close. We know not if his last hours were cheered by the
presence of Margarita, or whether the relations from
Urbino came to bid him farewell. All we can learn is

THE TRANSFIGURATION
From the painting by Raphael, in the Vatican, Rome.

LAST WORKS AND DEATH. 99
that he died peacefully on the night of Good Friday,
April 6, 1520, the thirty-seventh anniversary of his birth,
after an illness of a fortnight's duration, and that the
misery into which all Rome, and indeed all Europe was
plunged when the news became known altogether passes
description. The Pope, we are told, was awaiting tidings of his
favourite painter in a room built after Raphael's designs
in the Vatican when it suddenly fell. Hastening in terror
of his life from the ruins, the Pontiff was met by the news
that all was over, and scarcely able to believe in the reality
of so great a misfortune, he exclaimed, " Ora pro nobis,"
and bursting into tears gave orders that every possible
honour should be done to the beloved remains.
The body of Raphael lay in state in his own house for
some days, and above the funeral panoply was placed the
' Transfiguration,' with its colours still wet. Crowds came
to gaze for the last time on the beloved face ; and on the
day of the funeral all Rome followed the hearse to the
Pantheon. Again the ' Transfiguration,' borne in the pro
cession, figured in the melancholy scene, and when all was
over it was taken charge of by Giulio Romano, who com
pleted it, and, alas ! injured it by the use of lamp-black.
For several years it was preserved in the church of S.
Pietro in Montorio, its owner being unwilling to remove
it from Rome after its author's unexpected death. It was
¦carried to Paris with so many other invaluable art treasures
by the French, but restored to the Italians in 1815, and is
now in the Vatican.
Raphael was buried under the altar of the chapel of the
Pantheon, near the inscription to the memory of Maria da
Bibiena, to whom he was, it will be remembered, at one

100 RAPHAEL.
time betrothed — the very existence of Margarita having
been all along ignored by his relations and friends —
and on one side of his own tomb was engraved the
following epitaph in Latin, from the pen of his old friend
Bembo : —
" Dedicated to Raphael Sanzio, the son of Giovanni of
Urbino, the most eminent painter, who emulated the an
cients, in whom the union of nature and art is easily per
ceived. He increased the glory of the pontiffs Julius II.
and Leo X. by his works of painting and architecture. He
lived exactly thirty-seven years, and died on the anni
versary of his birth, April 6, 1520.
" Living, great Nature feared he might outvie
Her works, and dying fears herself to die."
For 158 years an annual mass was said for the repose
of the great master's soul, and when the income set aside
for that purpose was exhausted, the chapel was still kept
before public notice by the supposed miracles wrought by
a marble statue of the Virgin by Lorenzetto, ordered for
his monument by Eaphael himself before his death. In
1833 the tomb was opened and the skeleton of the divine
painter taken out and exhibited to crowds of admiring
sight-seers. After five weeks of what we can only cha
racterize as desecration of the sacred remains, they were
restored, this time enclosed in a new leaden coffin and
marble sarcophagus, to their original resting-place, where
they have since been allowed to remain undisturbed.

CHRONOLOGY OF THE LIFE OF RAPHAEL.
Some of the dates are uncertain,
A.D.
14S3. Raffaello Santi (or Sanzio), usually called Raphael, was born in the
Strada del Monte, at Urbino, April 6.
1491. His mother, Magia, died, October 7.
1492. Giovanni Santi, his father, married Bernardina, daughter of P. di Parte.
1494. Giovanni Santi died, August 1.
1496. Raphael became the pupil of Pietro Vannucci at Perugia about this time.
1500 to 1502. His first paintings.
1503. Went to Siena to assist Pinturicchio.
1504. Painted ' Lo Sposalizio ' for San Francesco at Citta di Castello.
1504 and 1505. Was at Florence and painted the ' Madonna del gran Duca.'
1505. Returned to Perugia.
1506. Went to Florence again and painted the ' Madonna in the Meadow."
1507. Painted ' The Entombment' and ' La Belle Jardiniere.'
1508. Was summoned to Rome by Julius II., in the summer, and began the
frescos in the Stanza della Segnatura.
1511. Painted the 'Annunciation ' and the ' Madonna di Fuligno.'
1512. Began the frescos in the Stanza d' Eliodoro.
1513. Death of Pope Julius II., and election of Leo X.
1514. Succeeded Bramante (who died) as architect of St. Peter's, April I.
Painted the fresco ofthe ' Galatea' in the Farnesina Palace.
1515. Began the frescos of the Stanza del Incendio.
Sent Albrecht Diirer a study for the ' Battle of Ostia.'
Began the Cartoons for the Tapestries.
Went to Florence with Leo X.
1516. Painted the ' St. Cecilia,' and the ' Madonna della Sedia.'
1517. Completed tbe frescos ofthe Stanza del Incendio.
1518. Painted Portraits of Lorenzo de' Medici and Leo X., and the ' St.Mic-hafi.'
1519. Painted tbe ' Madonna di San Sisto ' for the Convent at Piacenza.
Began to paint the ' Transfiguration.'
1520. Raphael died April 6, and was buried in the Pantheon.
THE POPES WHO LIVED AT THE TIME OF RAPHAEL.
Elected. 1471. Sixtus IV. (Francisco della Rovere.)
1485. Innocent VIXI. (Gian Battista Cibo.)
1492. Alexander VI. (Rodrigo Lenzoli Borgia,)
1503. Tius III. (Francisco Todeschini Piccolomini.)
Julius II. (Giuliano della Rovere.)
1513. LeoX. (Giovanni de' Medici.) Died in 1522.

A CLASSIFIED LIST OF RAPHAEL'S PAINTINGS.

Segnatura Vatican.

The Stanza della Segnatura, Stanza <? Eliodoro, Stanza of the Incendio del Borgo,
and the Sala di Costantino are all rooms in the Vatican in Rome. The Loggie
are open corridors. SUBJECTS FROM THE BIBLE.
The Creation of the World to the Last Supper. Fifty-two
frescos in the Loggie cf the  Vatican.
Church Banner : The Holy Trinity and the Creation of Eve Citti di Castello.
Eve offering the Forbidden Fruit ,
Moses with the Tables of the Law . . . Segnatura
The Judgment of Solomon  Segnatura
God appearing to Noah  Eliodoro
The Sacrifice of Isaac ...... Eliodoro
Jacob's Dream. Fresco ..... Eliodoro
Moses before the Burning Bush. Fresco . . Eliodoro
Joseph before Pharaoh ; the Red Sea ; Moses receiving the
Tables of the Law. {Small) .... Eliodoro „
Daniel and David, Jonah and Hosea. Frescos in S. Maria
della Pace  Rome.
The Prophet Isaiah. Fresco in the Church of St. Agostino . Rome.
The Vision of Ezekiel. Pitti Palace  Florence.

SUBJECTS RELATING TO CHRIST.
The Birth of Christ. {Lost.)
The Adoration of the Shepherds. Formerly at . Bologna,
The Infant Jesus with St. John the Baptist .... Perugia.
Raphael's Tapestries. First series, ten subjects from the Lives
of the Apostles  Vatican,
Raphael's Tapestries. Second series, twelve subjects taken from
the Life of Christ  Vatican.
Raphael's Seven Cartoons. In the Museum at South

A CLASSIFIED LIST OF RAPHAEL'S PAINTINGS. 103
Christ and the Apostles  Segnatura Vatican.
Christ on the Mount of Olives  MaitlandCollection.
Christ bearing his Cross {Lo Spasimo)  Madrid.
Christ on the Cross, with four Saints  Earl of Dudley.
The Entombment. Borghese Palace  Rome.
Christ seated on a Sarcophagus, St. Lodovicus.and Herculanus.
{Three small round pictures)  Berlin.
The Resurrection of Christ  Vatican.
Pax Vobis. In the Tosi Collection  Brescia.
The Transfiguration  Vatican.
Subjects relating to Christ. In the embrasures oj the windows
of the Stanza del Incendio ...... Vatican.
HOLY FAMILIES AND MADONNAS.
The Holy Family of Naples ....... Naples.
The Madonna with the Fish . .... Madrid.
The Madonna with the Rose  Madrid.
The Holy Family, called the Pearl  Madrid.
The Holy Family under the oak  Madrid.
The Holy Family, with Jesus seated on a Lamb . . . Madrid.
The Holy Family of Francis I. (1508)  Louvre.
The Holy Family. {Small)  Louvre.
The Madonna called La Belle Jardiniere .... Louvre.
The Virgin with the Diadem ( Vierge au voile) . . . Louvre.
The Holy Family of the Canigiani Family .... Munich.
The Holy Family, with St. Joseph  St. Petersburg.
The Holy Family under the Palm  Bridgewater Gall.
The Madonna di Fuligno ....... Vatican.
The Madonna della Sedia .... . Pitti Palace.
The Madonna with the Goldfinch  Uffizi Gall.
The Madonna del gran Duca  Pitti Palace.
The Madonna del Baldacchino ...... Pitti Palace.
The Madonna of the Countess Anna Alfani .... Perugia.
The Madonna with the Pink. In the Spada Collection . . Lucca.
The Small Madonna of the Orleans Gallery .... Delessert Coll.
The Virgin and Child with St. Jerome and St. Francis . Berlin Gallery.
The Madonna ofthe Duke of Terrannova .... Berlin Gallery.
The Madonna of the Solly Collection  Berlin Gallery.
The Madonna di Casa Colonna  Berlin Gallery.
The Madonna di San Sisto  Dresden Gallery.
The Madonna della Tenda  Munich Gallery

101

A CLASSIFIED LIST OF

The Madonna of the Tempi Family . ... Munich Gallery.
The Madonna in the Meadow . . . . . Vienna Gallery.
The Madonna with the Two Children. In tlie Esierliazy Gallery Vienna.
The Madonna della Casa d'Alba  St. Petersburg.
The Madonna of Count Staffa {or Conestabili) . . .St. Petersburg.
The Madonna of the Ansidei Family ..... Blenheim.
The Madonna della Casa, Niccolini (1508) .... Pahshanger.
The Madonna of the Cowper Collection (1505) . . Panshanger.
The Madonna of the Aldobrandini Gallery { Garvagh) . National Gallery.
The Madonna and Child. {Copy of the Bridgewater) . . National Gallery,
The Madonna of the Bridgewater Gallery .... London.
The Virgin with Candelabra. In the Munro Collection . London.
The Virgin with Candelabra. Inpossession of Mr. J. C. Robinson London.
The Virgin with Jesus, standing. {Due d'Aumale) . . Paris.
Altar-piecefor the Monastery of St. Anthony of Padua, Perugia.
The central Picture, the ' Madonna with Saints,' and the
Lunette with the ' Eternal Father ' are deposited in the
National Gallery.
The predella paintings : ' Christ on the Mount of Olives '
belongs to Lady Bwrdett Coutts ; ' Christ bearing his
Cross ' to Sir W. Miles ; the ' Dead Christ ' to Mrs.
Dawson ; ' St. Francis ' and ' St. Anthony of Padua,'
Didwich Gallery. SUBJECTS RELATING TO THE VIRGIN.

The Marriage of the Virgin {Lo Sposalizio) ....
The Annunciation. In embrasure ofa window Stanza d' Eliodoro
The Visitation .......
The Coronation of the Virgin ......
The Coronation of the Virgin. Finished by Giulio Romano
and F. Penni 
The Coronation of the Virgin. {A lost tapestry for the altar
ofthe Sistine Chapel.)

St. Augustine on the Beat-h .
St. George with the Sword .
St. George with the Lance
St. John the Baptist
St. John the Baptist in the Desert
The Archangel St. Michael .

SAINTS. Stanza della Segnatura

Brera, Milan.
Vatican.
Madrid Gallery.
Vatican.
Vatican.

Vatican.
Louvre. St. Petersburg.
Uffizi Gallery.
Louvre. Louvre.

RAPHAEL'S PAINTINGS.

105

Saint Michael ( The small) ....
The Archangels Michael and Raphael 
The. Coronation of St. Nicolas of Torentino. (Formerly at
Citta di Castello.)
The Deliverance of St. Peter. Fresco in the Stanza a" Eliodoro
St. Sebastian. In the Lecchi Collection .....
Camoldoli Monks around the Holy Trinit3-. {Fresco) .
St. Catherine of Alexandria 
St. Cecilia 
The Martyrdom of St. Cecilia. Fresco in the chapel of the
Pope's hunting chateau., now the convent of the nuns of
St. Cecilia, Transtevere . 
Mary Magdalene and St. Catherine. In the Camuccini Collec
tion, in 1845 .........
St. Margaret 
St. Margaret. {A repetition of that in the Louvre.)

Louvre.National Gallery.

Vatican.
Betgamo.San Severo.
National Gallery.
Bologna Gallery.

Rome. Rome.
Louvre. Vienna Gallery.

MYTHOLOGICAL AND ALLEGORICAL SUBJECTS.
The Parnassus. Fresco in the Stanza della Segnatura . . Vatican.
Apollo flaying Marsyas. On ceiling of Stanza della Segnatura
Poetry Theology
Philosophy .
Jurisprudence
Astronomy .
Prudence, Force, and Moderation. {Three allegorical figures.)
Frescos in the Stanza della Segnatura ....
Speculative Philosophy. On the socle of the Stanza del Incendio
The Knowledge of Divine Things. On the socle of the Stanza,
della Segnatura 
Twelve Allegorical Figures, and Twelve small Symbolical
Compositions. On the socles of the Stanza d' Eliodoro .
Seven Mythological Subjects, in fresco, in the Bath Room of
Cardinal da Bibiena .......
Six Victorious Cupids. Beneath the principal frescos in the
Bath Room 
Cupid and Pan. On the ceiling  Vatican.
Galatea. Fresco in the Farnesina Palace .... Rome.
Subjects taken from the fable of Cupid and Psyche. Loggie
e-f the Farnesina Palace ¦ . . .... Rome.

106

A CLASSIFIED LIST OF

The Three Graces. Earl of Dudley's Collection . . . London.
Tapestries, with cupids at play. {Five subjects now lost.)
The Vision of a Knight  National Gall.

SUBJECTS FROM THE ANTIQUE.
The Sibyls. The Cumcean, Persian, Phrygian, and Tiburtine.
Frescos in S. Maria della Pace  Rome.
The Marriage of Alexander and Roxana. /;* the Raphael
Villa  Rome.
The Sibyl of Tibur. Onthe socle ofthe Stanza della Segnatura Vatican.
Alexander the Great placing the poems of Homer in the Tomb
of Achilles. Grisaille picture in the St. della Segnatura „
The Siege of Syracuse. On the socle of the St. della Segnatura „
Death of Archimedes. On the socle of the St. della Segnatura „
The School of Athens. Fresco in the Stanza della Segnatura „
The Emperor Augustus forbidding the burning of Virgil's
-35neid. Grisaille picture in the Stanza della Segnatura „
A Heathen Sacrifice. On the socle ofthe Stanza della Segnatura „
Oriental Scholars and Magicians. On the socle of the Stanza
della Segnatura  .„

SUBJECTS RELATING TO THE CHURCH.

The Dispute "<" 'he Holy Sacrament, or Theology.
the Staitza della Segnatura

Fresco >

Vatican.

Heliodorus driven from the Temple
The Miracle of Bolsena
The Baptism of Constantine
Constantine's Address to his Troops
The Donation of Rome to the Pope
in the Stanza cV Eliodoro
Subjects from the History of Constantine.
the Sala di Costantino
The Coronation of Charlemagne. Stanza aV Incendio del Borgo
Gregory IX. giving the Decretals. Stanza della Segnatura
The Oath of Leo III. Stanza d' Incendio del Borgo
The Incendio del Borgo. Stanza of the same name
Six Princes of the Roman See. On the socles of the Stanza
cV Incendio del Borgo .......

Stanza <7 Eliodoro
Stanza d' Eliodoro
Sala di Costantino
Sala di Costantino
Embrasure of a window

Socle pictures in

RAPHAEL S PAINTINGS.
The eight Popes in the Sala di Costantino .... Vatican.
A Pope celebrating Mass. Embrasure of a window in the
Stanza cT Eliodoro 

107

BATTLES.
The Battle of Constantine . . In the Sala di Costantino
Discomfiture of the Hordes of Attila. . Stanza d' Eliodoro
Victory over the Saracens . Stanza d' Incendio del Borgo

Vatican

PORTRAITS.
Portrait of Raphael. By himself  Uffizi.
Portrait of Raphael. (Lost.) Engraved.
Portrait of Pope Julius II  Pitti Palace.
Portrait of Pope Julius II. (Replica)  National Gallery.
Portrait of Leo X., with Cardinals Giulio de' Medici and
Luigi de' Rossi  Pitti Palace.
Portrait of Giuliano de' Medici  Uffizi.
Portrait of Bernardo Dovizio da Bibiena .... Madrid Gallery.
Portrait of Guidubaldo, Duke of Urbino. (Lost.)
Portrait of Count Baldassare Castiglione .... Louvre.
Portrait of the Marchese Federico of Mantua. Lucy Coll. . Charlcote.
Portraits of Andrea Navagero and Agostino Beazzano. (Lost.)
Portrait of Antonio Tebaldeo. (Lost.)
Portrait of Bindo Altoviti  Munich Gallery.
Portrait of Phfedra Inghirami  Pitti Palace.
Portraits of Angelo Doni and Maddalena Strozzi, his wife . Pitti Palace.
Portraits of two Monks, Don Blasio and Don Baltasar, of the
Vallombrosa monastery ....... Florence Academy.
Portrait of a Violin Player. In the Sciarra Colonna Palace Rome.
Portrait of a Young Man of the Riccio Family . . . Munich Gallery.
Portrait of a Young Man  Louvre.
Portrait of a Young Man  South Kensington.
The Mistress of Raphael  Pitti Palace.
The Mistress of Raphael . . . Barberini Gallery Rome.
Portrait of Joan of Aragon  Louvre.
Portrait of a Young Woman  Pitti Palace.
Portrait ofa Woman  Uffizi Gallery .
Portrait of a Woman  Uffizi Gallery.
Portrait of Timoteo della Vite (In chalk) .... British Museum.

PICTURES ATTRIBUTED TO RAPHAEL, BUT CON
SIDERED DOUBTFUL BY PASSAVANT.
SUBJECTS TAKEN FROM THE SACRED HISTORY.

Adam and Eve. (By Mariotto Alber-
tinelli ?)
The Sacrifice of Cain and Abel.
Noah's entrance into the Ark.
Elisha raising three young Men from the
Dead.
Judith. In the Hermitage Palace.
The Annunciation. (Lost.)
The Nativity. (By Lorenzo di Credi ?)
The Adoration of the Magi. (Spagna ?)
Christ on the Mount of Olives.
HOLY FAMILIES
The Madonna dell' Impannata. In the
Pitti Palace.
The Repose in Egypt. In the Vienna
Gallery.
The Madonna del Passeggio. In the
Naples Gallery.
The Virgin in the Ruins. Formerly in
the Sacristy of the Escurial.
The Madonna with the Rose. Madrid
Gallery.

The Last Supper. (By Spagna?) In
an old convent at Florence.
The Baptism of Christ and the Resurrec
tion. In the Munich Gallery,
A small painting in Raphael's paternal
home. (Lost.)
Jesus Christ in Prayer.
The Funeral of the Virgin. (Lost.)
The Assumption.
The Last Judgment. (Lost.)
The Martyrs.
AND MADONNAS.
The Madonna of the Diotalevi Family.
In the Berlin Gallery.
Madonna of Count Bisenzo. At Frank-
fort-on-the-Main.
The Virgin giving Flowers to the Infant
Jesus. In the Florence Gallery, and
in the Borghese Palace.
The Virgin in the Meadow. In the Her
mitage Palace.
The Virgin with Saints. In the Earl oj
Warwiclis Collection.

RELIGIOUS SUBJECTS.

The Five Saints. In the Academy of
Parma.
St. Luke painting the Likeness of tbe
Virgin. In the Academy of Rome.
St. Jerome. (Lost.)

St. John the Evangelist. In the Mar-

In the

The Apostles Peter and Paul.
Quirinal Palace, Rome.
Mary Magdalene. (Lost.)

MYTHOLOGICAL AND ALLEGORICAL SUBJECTS.

Charity and Hope. Two small pictures
now in England.
The Hours of the Day and Night.
Apollo, the Moon, five Planets, and four

Stars of the Zodiac. In , the Stanza
Borgia, Vatican.
Four Mythological Subjects. From the
Palazzo Madama.

PICTURES ATTRIBUTED TO RAPHAEL.

109

Achilles at Scyros, and Achilles recog
nized by Ulysses. InPalazzoMadama.
Neptune and Amymone. In England.

Diana and Calisto, Saturn, Venus.
the Farnesina Palace.
Apollo and Marsyas. In England,.

In

PORTRAITS.

Raphael and his Fencing Master. In
the Louvre.
Portrait of Federico Carondolet. In the
Grafton Collection, London.
Portrait of Monsignore Lorenzo Pucci.
In Lord Aberdeen's Collection.
Portrait of Card. Borgia. Borghese Pal.
Portrait of Cardinal Antonio del Monte.
In the Fesch Collection.
Portraits of Raphael's Mistress. InBlen-
heim Palace and in the Hermitage.
Portrait of a Young Lady. In the Kest-
ner Gallery, Hanover.
Portrait of Giovanni F. Penni.
Portrait of Parmigiano. In England.
Portraitof Giovanni della Casa. AtRome.
Portraits of Csesar Borgia. In the Bor
ghese Palace and in the Castelbarco
Collection, Milan.

Portraits of F. Sanazzaro. In me Lance-
lotti Coll., Naples, and the Hermitage.
Portrait of a Carthusian Monk. Berlin.
Portrait of a Young Man. In the Louvre.
Portrait of a Man in a red mantle.
Portrait of a Young Man. In the Mont-
pettier Gallery.
Portrait of a Young Man. In the Alva
Collection, Madrid.
Portrait of =>¦ Woman. In the Modena

Portraits of Marcantonio Raimondi. At
Aix and Milan.
Portrait of Raphael's Mother. In the
Naples Gallery.
Portrait of a Young Gentleman. In the
Naples Museum.
Portrait of Raphael's Apothecary. In
the Copenhagen Museum.

ENGRAVINGS.
The Engravings after Raphael's pictures are so numerous that a list of them
would require too much space. In the Print Room of the British Museum and in
the Art Library of the South Kensington Museum nearly complete collections may
be seen.

RAPHAEL'S DRAWINGS.
Drawings and sketches by Raphael exist in great numbers. A very important
collection of 102 drawings in the University Galleries at Oxford has been ably
described by Mr. J. C. Robinson. There are many also at the British Museum,
the Louvre, the Wicar Collection at Lisle, at Windsor, at Chatsworth, and in various
other public as well as private collections.

INDEX.

The names of pictures are printed in Italic.

Accoramboni Palace, 53.
Agnola, Baccio d', 75.
Altar-piece for St. Antony, 11.
Altoviti, Bindo, 40.
Ariosto, 52.
Bacchiacca, 76.
Bagnacavallo, 76.
Baldassare, Don, Portrait of, 17.
Banner for the Church, at Citta di
Castello, 6.
Baptism of Constantine, 95.
Bartoli, Pietro Santo, 70.
Bath-room in the Vatican, 78;
Battiferri, Antonio, 77.
Battle of Constantine, The, 95.
Beatrice of Ferrara, Portrait of, 40.
Bembo, Pietro, 15.
Bentivoglio, Giovanni, 14.
Bernini, 57.
Bibiena, Cardinal, 63.
Bible Pictures, Raphael's, 66 to 69.
Blasio, Don, Portrait of, 17.
Borgia, Cardinal, Portrait of, 86.
Bramante, 23, 52.
Bramantino, 43.
Branconio dall' Aquila, Battista, cne
of Raphael's executors, 98.
Brunelleschi, 75.
Canigiani, Holy Family of, 17.
Carondelet, Archdeacon, Port, cf, 86.
Carpi, Jacopo da,,90.
Cartoons, History ofthe, 72, 73.

Castiglione, Count Baldassare, 15, 51.
Cecilia, Saint, 58.
Charlemagne, Coronation of, 62.
Chigi, Agostino, 40.
Chigi Palace and Chapel, 57.
Christ bearing His Cross. For altar-
piece at Padua, 11.
Christ bearing His Cross. ' Lo Spa-
simo,' 80.
Christ in the Garden of Getlisemane, 9 .
Ciarla, Simone di, 3.
Constantine's Donation, 95.
Coronation of S. Nicolo Tolentino, 6.
Coronation ofthe Virgin, 6, 75.
Correggio, 89.
Costa, Lorenzo di, 15.
Crucifixion, The, 6.
Defeat of Attila, 47, 48.
Deliverance of St. Peter, 46, 47.
Dispute on the Holy Sacrament, 25.
Doni, Angelo, Portrait of, 14.
Doria, Andrea, 15.
Dossi, Dosso, 76.
Durer, Albert, 52.
Entombment, The, 18.
Faith, Hope and Charity, 20.
Farnesina Palace, Frescos of the, 90.
Foliari, Giovanni Pietro de', 44.
Francesca, Piero della, 43.
Francia, Francesco, 14.
Francis I. of France, 84.
Frescos in the Cathedral of Siena, 8.

INDEX.

Ill

Frescos in San Severo at Perugia, 12.
Galatea, Fresco of, 55.
Giovanni da Udine, 66.
God appearing to Noah, 43.
Heliodorus driven from the Temple, 44.
Holy Family of CanigianiFamily, 17.
Ofthe Louvre,thelarge, 83.
Of the Madrid Gallery, 17.
Of Naples, 40.
Under the Palm Tree, 14.
The Pearl, 82.
Incendio del Borgo, 61.
Inghirami, Phcedra, Portrait of, 53.
Jacob's Dream, 43.
Joan of Aragon, Portrait of, 86.
John the Baptist, 90.
Jonah, Statue of, 57.
Judgment of Solomon, 36.
Jurisprudence, figure of, 36.
Leo X., Letter from Raphael to, 93.
Leo X., Portrait of, 86.
Lionardo da Vinci, 9.
Loggie of the Vatican, 66.
Madonna of the Ansidei Family, 11.
Del Baldacchino, 20.
Of the Bridgewater G allery, 40.
Del Cardellino, 14.
Di Casa. Colonna, 20.
Di Fuligno, 39.
Della Candelabra, 83.
Del gran Duca, 10.
Della Tenda, 83.
Dell' Impannata, 40.
La Belle Jardiniere, 20.
In the Meadow, 14.
Del Pesce (with the fish), 54.
Della Sedia, 82.
Di San Sisto, 88.
Ofthe Staffa Family, 6.
Of the Tempi Family, 40.
Of the Terranuova Family, 10.
Maategna, 18.
Mantua, Marchese de, Portrait of, 39.

Marone, Andrea, Portrait of, 86.
Marriage of Alexander, 79.
Marriage of Cupid and Psyche, 92.
Martyrdom of St. Cecilia, 80.
Masaccio, 10.
Massacre of the Innocents, The, 84.
Medici, Giuliano de1, 15.
Medici, Lorenzo de', Portrait of, 86.
Medina, Duke of, 54.
Michelangelo, 42, 58, 96.
Miracle of Bolsena, 46.
Moses before the Burning Bush, 43.
Murello the Poet, 96.
Nativity, The, 15.
Oath of Leo III, 61.
Pandolfini Palace, 75.
Parnassus, The, 28.
Penni, Francesco, 76.
Perugino, 3.
Philip IV., 81.
Pinacotheca, Milan, 17.
Pinturicchio, 4.
Piombo, Sebastiano del, 96.
Poetry, allegorical figure, 30.
Pontano the Poet, 96.
Pope Julius II., 17, 23, 39.
Pope Leo X., 47, 48.
Pope Urban IV., 45.
Raimondi, Marcantonio, 52.
Raphael, His birth, 1.
Entered Perugino's studio, 3.
Recalled to Urbino, 4.
Went to Citta di Castello, 4.
Returned to Perugia, 6.
Visit to Siena, 8.
Ceases to be Perugino's pupil, 8.
Arrived in Florence, 9.
Visited Bologna, 14.
Portrait cf himself , 16.
Painted for Duke of Urbino, 16.
His fame reached JuliusII., 17.
Stayed at Vallombrosa, 17.
Portrait cf himself, 39 .
Negotiations with Agostino
Chigi, 40.

112

INDEX.

Raphael — continued.
Began painting the Stanza
d' Eliodoro, 42.
His sonnets, 50.
Margarita, His love for, 51.
Maria Bibiena, Projected mar
riage with, 51.
Made architect of St. Peter's, 56.
Last will, 98.
Death, 99.
Romano, Giulio, 52, 94, 96.
Sacrifice of Isaac, 43.
St. Catherine of Alexandria, 18.
St. Cecilia, 58.
St. George, 9.
St. George on the White Horse, 1 6.
St. Margaret, 85.
St. Martin mi Horseback, A.
St. Michael, 9, 83.
St. Sylvester, 95.
St. Peter's, Model of, 56.
Sala di Costantino, 94.
San Damaso, Court of, 57.
San Gallo, Giuliano da, 75.
Sansovino, Andrea, 75.
Sansovino, Jacopo, 75.
Santa Maria della Pace, 40.
Santa Maria della Popolo, Chapel of,
40.
Santa Maria del Spasimo, 80.

Santi, Don Bartolommeo, 3.
Santi, or Sanzio, Giovanni, 1.
Saxony, Elector of, 90.
School of Athens, 31.
Sebastiano del Piombo, 57.
Signorelli, Luca, 3.
Sistine Chapel, Cartoons for, 71.
Soderini, Pietro, 9.
Spagno, Lo, 4.
Sposalizio, Lo, 8.
Stanza d' Eliodoro, 38 to 48.
Stanza della Segnatura, 23.
Stanza de Torre Borgia, 60.
Sibyls, The Four, 41.
Tebaldeo, Antonio, Portrait of, 77.
Theology, allegorical figure, 27.
Transfiguration, The, 96.
Turini, Baldassare, one of Raphael's
executors, 77, 98.
Uguccioni Palace, 75.
Udine, Giovanni da, 76.
Vaga, Pierino del, 70.
Via di Borgo Nuova, 53.
Victory over the Saracens, 63.
Villa Palatina, 78, 79.
Vision of Ezekiel, 59.
Vision of a Knight, 6.
Visitation, The, 81.
Vite, Timoteo della, 76.

CHISWICK PRESS ; CHARLES WHITTINGHAM, TOOKS COURT,
CHANCERY LANE.

V

—fc« IIIWIIIII  HIIIIIIMMWHIIIWII I ftp