he paid a first visit to Florence. He was provided with letters of recommendation from the Duchess of Sora, the Duke of Urbino's sister, to the Gonfaloniere Sodorini, the successor of the Medici. This visit, although short, was an event in the artist's history. He formed the acquaintance of Ghirlandajo, and of the excellent Fra Bartolomeo. His friendship with the latter was firm and enduring, even unto death. Each exerted a beneficial influence upon the other. The elder of the two, instructed his friend in colouring, and a more happy disposition of drapery, while Raphael in turn inparted to the good Friar a more perfect knowledge of the principles of perspective. At Florence also our artist studied the works of Masaccio, and became acquainted with some of the cartoons of Lionardo da Vinci, and certain of the grand efforts of Michael Angelo. Hence he acquired new ideas of force and of sublimity. He soon returned to Perugia, with a mind expanded and enriched, and filled with memories of beauty. The following year he was employed to paint several altar-pieces for different churches, and he executed besides, some smaller pictures of great excellence, which are scattered through various collections. After the completion of these works, Raphael returned to Florence, where he remained until the year 1508. Here he enjoyed every facility for study and improvement, which could be supplied by intercourse with eminent men and access to noble galleries of painting and sculpture. The fair city of Florence was the home of refinement of learning, and of genius. It was rendered hallowed ground through having been the birthplace of many of Italy's most illustrious sons. It was here that Dante Alighieri first saw the light of heaven. Here he sang and sufferedand during his exile in after time, stung by the ingratitude of his birth-city, he immortalized it by the indignant denunciation of his lofty verse. Some of Raphael's finest pictures were painted during his second visit to Florence, a period of about three years. For he was here, indeed, in the brightest season of life-the glad spring-time of youth, when all is so fresh and beautiful, and it seems a joy to live and breathe the free air of heaven. It is the age, too, of poetry and romance and airy dreams, when the whole world seems a summer-land of beauty, and the spirit overflows with the well-springs of a sweet inspiration, developing itself in soul of genius, in the "harmony of colours," of music, or of song. It was but natural then that the young artist's creations should be in accordance with such happy influences. Take also into consideration the effect of country, and of climate. That glorious Italy, so wreathed with dear enchantments and crowned with strange and lofty memories, its every spot of ground ringing with the echoes of hero-footsteps, and all the air musical with the tones of divinest minstrelsy-was it not a fitting temple for the young enthusiast to bend low in adoring reverence at the shrine of the beautiful and the true? Ah, bright and fair, indeed, must be the artist's life in Italy, if faith and love be with him-for without these no life can be sublime, no death can prove triumphant. Among the pictures Raphael painted at Florence, are many portraits, some altar-pieces, a Madonna beneath a palmtree, now in the Bridgewater Gallery, the celebrated Madonna del Cardellino, at Florence, and others, altogether about thirty pictures. When our artist was about twenty-five years of age, through the recommendation of his relative, the sculptor, Bramante, he was ordered to Rome by Pius Julius II. to complete the decorations of the Vatican, which had been commenced in the reign of his predecessor, and left unfinished. At that period Raphael had already established a reputation which extended throughout all Italy. The Italians are ever ready and able to appreciate the beautiful, and to welcome genius with sympathy. They are more quick to recognise, and more fervent to love the indications of talent, than the residents in our cold, northern latitudes. Raphael received so urgent an order from the Pope to proceed to Rome, that he was obliged to leave many of his pictures at Florence, for his friends Ghirlandajo and Fra Bartolomeo to finish. In a sketch of Michael Angelo we have already spoken of the haughty character, the unconquerable energy, and the resistless will of Pope Julius II., and of the many large and magnificent designs, whose execution shed such lustre upon. the annals of his pontificate. As soon as Raphael reached the Ro- sively discoursing to the listeners near man Capital, he commenced the embel- him." Then on a lower plan we have lishment of the Camere of the Vatican. the Sciences and Arts, represented by The first saloon called the Camera della Pythagoras and Archimides, Zoroaster Segnatura, he devoted to the celebration and Ptolemy the geographer; while of Theology, Poetry, Philosophy, and alone, as if avoiding, and avoided by Jurisprudence. In four circles he all, sits Diogenes the Cynic. Raphael painted on the ceiling four figures, en- has represented the art of painting by throned in the clouds with befitting the figure of his master Perugino, and symbols, and attendant genii. Of has introduced a portrait of himself these the figure of Poetry is distin-humbly following him. which it is painted, is represented with less completeness, and is broken up into divisions. Prudence, Fortitude, and Temperance are above; below on one side, is Pope Gregory, delivering the ecclesiastical law; and on the other Justinian promulgating his famous code of civil law. guished by superior grandeur and in- Law or Jurisprudence, from the parspiration. Beneath these figures, and ticular construction of the wallon on the four sides of the room he painted four great pictures, each about fifteen feet high by twenty-five feet wide, the subject illustrating the four allegorical figures above. Under Theology, he placed the composition generally known by the title of La Disputa, i.e. the argument concerning the Holy Sacrament. In the upper part is the heavenly glory, The biographers of Raphael are the Redeemer in the centre, beside him generally silent with regard to his the Virgin-mother. On the right and literary attainments. One of his letters left arranged in a semi-circle, patriarchs, now preserved in the Museo Borgia, is apostles, saints, are seated; all full of written in a kind of patois, and might character, dignity, and a kind of celes- be adduced as an evidence of his being tial repose, befitting their beatitude, illiterate, were it not that other letters Angels are hovering round; four of of his are extant, composed in pure them surrounding the emblematic Dove, and elegant Italian. He was well achold the gospels. In the lower half quainted with many branches of polite of the picture are assembled the cele- literature, and paid especial attention brated doctors and teachers of the to history and poetry. Petrarca was Church, grand, solemn, meditative one of his dearly loved authors, and figures; some searching their books; from this poet's "Trionfo della Fama," some engaged in "colloquy sublime." he gathered many ideas which he And on each side, a little lower, groups made use of in his delineation of of disciples and listeners, every head" 'Philosophy," in the Camera della Segand figure a study of character and natura. expression, all different, all full of nature, animation and significance; frescoes in the Vatican, our artist and thus the two parts of this magnifi- found a generous patron and friend in cent composition, the heavenly beati- Agostino Chigi, a rich merchant of tude above, the mystery of faith below, Rome, for whom he painted several combine with one comprehensive whole. valuable pictures-among others the Under Poetry, we have Mount Par-"Triumphs of Galatea," and the "Sybils nassus; Apollo, and the Muses are seen della Pace" in the Chapel, belonging to on the summit. On one side near them, the Chigi family. the epic and tragic poets. Below on each side are the lyrical poets, Petrarch, Sappho, Corinna, Pindar, Horace. Whilst engaged at Rome on the About the same time, Raphael executed a fine portrait of Pope Julius II., and also a likeness of himself, which is familiar to every one through the engravings. It represents him as a young man of singular beauty, with rich masses of dark hair, soft sweet eyes, and a touching noble expression, just the beau-ideal of a poet-artist. Under Philosophy, Raphael has placed "the School of Athens." It represents a grand hall or portico, in which a flight of steps separates the foreground from the background. Conspicuous and above the rest, are the elder intellectual philosophers, Plato, Aristotle, Michael Angelo having fled from Socrates. Plato characteristically point- Rome at this period, on account of his ing upwards to heaven; Aristotle quarrel with the Pope, Bramante obpointing to the earth; Socrates impres-tained the keys of the Sistine Chapel, and exhibited to Raphael the sublime efforts of his famous rival, which doubt less, in some measure, influenced his own style, for a short time afterwards Raphael painted the "Sybils" for A. Chigi, and the "Isaiah" of S. Agostino. In the same year he commenced the second chamber of the Vatican, in which he illustrated the miraculous triumph of the Church over her enemies. This series includes the wonderful picture of "Heliodorus driven from the Temple," one of Raphael's most striking productions. "The group of the celestial warriors trampling on the prostrate Heliodorus, with the avenging angels floating air-borne to scourge the despoilers, is wonderful for its supernatural power -it is a vision of beauty and terror." The portrait of Julius II. is introduced in this work, under the character of the high-priest, Onias. The Pope died in 1513, before the completion of this chamber, and the triple crown devolved upon Leo X. Raphael, whose marvellous frescoes in the Vatican filled the simple-hearted friar with wonder and admiration. Some of his best pictures were painted on his return to his convent after this visit. Meanwhile, the works in the Vatican were still in progress. The remaining decorations were all in illustration of the history of Leo X., for in representing the events in the lives of preceding pontiffs the artist only "shadowed forth the glory of his patron." The most celebrated subjects in this series consist of " Attila driven from Italy by Saint Leo the Great," "the Liberation of St. Peter from Prison," and the "Fire in the Borgo,"-L'Incendio del Borgo. It is singular to trace through these compositions how very cleverly Raphael has allegorized different incidents in the life-story of Leo X. For instance, in the representation of the expulsion of Attila," even St. Leo himself and his dignified attendants become only supposititious personages, intended to immortalize Leo X., and the cardinals and prelates of his court, whose portraits are actually substituted for those of their predecessors in the honours and dignities of the Roman See.. To have represented Leo X., as living in the time of Leo III., would have been an anachronism, to have exhibited from Italy, would have been a falsehood. But Attila himself is only the type of the French monarch, Louis XII. whom Leo had, within the first months of his pontificate, divested of the state of Milan, and expelled from the limits of Italy." The age of Leo X, was the golden age of Italian art and literature. The Papal court was thronged with men of learning and of genius, crowned, and purple-robed, and placed high among those whom the people "delighted to honour." Visions of beauty were then not only dreamed, but raised to actual life, through marble and through can-him as miraculously expelling Attila vas, and poet-lips were eloquent with the music of immortal song. Raphael was on terms of intimacy with many of the most eminent men of the dayAriosto, Sanazzaro, and the Cardinal Bembo, were among his friends, His fame and riches greatly increased, so that he built himself a beautiful residence, in Observe, how very skilfully the artist that quarter of Rome, called the Borgo, disposes of the apparent difficulty of between the Castle of St. Angelo and reconciling the two events. It is anthe Church of St. Peter. Scholars flocked other question, how far such a treatto his school from all parts of Italy, ment of the subject is consistent with and by all the young men under his the true dignity of art, and whether or tuition he was regarded with the pro- not an artist be justified in giving real foundest reverence and love. Most of portraits of living men, under the names the contemporary artists enjoyed friendly of historical personages. We see, howrelations with him, excepting Michael ever, no serious objections thereto, so Angelo, who, at that period, was absent long as care is taken to preserve the from Rome. At the commencement of distinguishing characteristics of the Leo X.'s pontificate the venerable Lio-primary subject of the picture. nardo da Vinci, visited the capital, and The fresco representing the angel made the acquaintance of Raphael, who also maintained a sincere friendship with Francia, and corresponded with Albert Durer. Fra Bartolomeo visited Rome in 1513, and thus renewed his intercourse with liberating St. Peter from prison, is placed opposite to another of Raphael's master-pieces-The Mass at Bolsena, in which the consecrated wafer miraculously dropped blood, to reprove the incredulity of the officiating priest. In the picture of the release of St. Peter, the artist alludes to the imprisonment of the Pope Leo X. at Ravanna, and his subsequent liberation. L'Incendio del Borgo depicts a fire in that quarter of Rome, which occured in the reign of Leo IV., and was said to have been extinguished by a supernatural interposition. "This wonderful piece alternately chills the heart with terror, or warms it with compassion. The calamity of fire is carried to its extreme point, as it is the hour of midnight, and the fire which already occupies a considerable space, is increased by a violent wind, which agitates the flames that leap with rapidity from house to house. The affright and misery of some of the inhabitants are also carried to the utmost extremity. Some rush forward with water, are driven back by scorching flames; others seek safety in flight, with naked feet, robeless and with dishevelled hair; women are seen turning an imploring look to the pontiff; mothers whose own terrors are absorbed in fear for their offspring; and here a youth who bearing on his shoulders his aged and infirm sire, and sinking beneath the weight, collects his almost exhausted strength to place him out of danger." The last chamber painted by Raphael in the Vatican was called the Hall of Constantine, being illustrative of the career of that Emperor. The frescoes in this series were executed by pupils from the artist's designs, as he had so many important undertakings under his superintendence, that it was utterly impossible for him to complete them all with his own hands. Hence he merely furnished the cartoons from which his scholars worked. In the mean time Raphael painted several pictures for his munificent patron, Agostino Chigi, consisting chiefly of fresco decorations for his palace in the Transtevere, now called the Villa Farnesina; among which may be mentioned a series representing the history of Cupid and Psyche, still in excellent preservation. Our artist possessed also considerable architectural talent, for he furnished Agostino with the design of a private Chapel, and also engaged to superintend the erection of a magnificent mausoleum, which his patron was desirous of having built in his life-time. A sculptor, named Lorenzetto, executed two marble figures for this 66 Our sepulchre, from models supplied by Raphael. One of these was the statue Jonah," worthy of being classed with the productions of ancient art. artist adorned the Loggie of the Vatican with a set of compositions from Old Testament history, entitled "Raphael's Bible." "The Loggie are open galleries, running round three sides of an open court." The construction of these galleries had been commenced by Bramante, but he had not been able to complete the design. They were consequently finished by Raphael, with the addition of great improvements upon the original plan. The painter thus afforded a new specimen of his skill as an architect, with which Leo X. was well pleased. The direction of the interior decorations were also entrusted to Raphael. "This afforded the artist an opportunity of displaying his knowledge of the antique, and his skill in imitating the ancient grotesque and arabesque ornaments, specimens of which then began to be discovered, as well in Italy as in other places, and which were collected from all parts at considerable expense by Raffaello, who also employed artists in various parts of Italy, even in Greece and Turkey, to furnish him with drawings of whatever remains of antiquity might appear deserving of notice. The execution of this great work was chiefly entrusted to two of his scholars, Giulio Romano, and Giovanni da Udine; the former of whom superintended the historical department, the latter the stucco and grotesques, in the representation and exquisite finish of which he excelled all the artists of his time; but various other artists who had already arrived at considerable eminence were employed in the work, and laboured with great assi duity. Among these were Giovanni Francesco Penni, Bartolomeo da Bagnacavallo, Perino del Vaga, Pellegrino da Modena, and Vincenzio da S. Gemignano. The great extent and variety of this undertaking, the fertility of imagination displayed by Raffaello in his designs, the condescen sion and kindness with which he treated his pupils who attended him in great numbers whenever he appeared in public, and the liberality of the pontiff in rewarding their labours, all combined to render the Vatican at that period a perfect nursery of art." There is an interesting story related of one of the boys employed there, in grinding colours, and carrying the composition of lime and other artistic requisites. From hearing the conversations of the painters, and continually living in sight of the glorious creations of genius, this youth acquired a deep love of painting, and a burning desire to devote his life to the art, that he too might leave behind him some such fair memorials. Thought and observation were his only means of study, for he never practised painting until he was eighteen years of age, when all at once he "seized the pencil and astonished his employers." And from that time Polidoro da Caravaggio was numbered in the ranks of the disciples of Raphael. After the artist had completed the decorations of the Loggie he was employed to embellish one of the saloons of the Vatican in the same manner. Leo X. determined also to have the lower walls of the Capella Sistina hung round with costly tapestry, to be woven in Flanders, in wool, and silk, and gold. He desired Raphael to furnish the designs for this work, from different portions of Scripture history. The cartoons were accordingly executed, and forwarded to Flanders, where they were suffered to remain after the completion of the tapesty, until the reign of Charles the First, who had the good taste to purchase them. They are now at Hampton Court, and familiar to us all. Originally they were ten in number, but three, unfortunately, have been lost. The tapestries were finished at Arras, and sent to Rome, in 1519. Raphael had the pleasure of seeing them disposed in their places, amid much admiring applause on the part of the spectators. Several sets of hangings were worked from the same cartoons, and of these one set was presented to Henry VIII. of England, and afterwards sold out of the kingdom. Sisto," and represents the infant Christ enthroned in the arms of the Virgin, St. Sixtus and St. Barbara kneeling in adoration on each side. When Bramante died, in 1514, the office of Superintendent of the building of St. Peter's was rendered vacant, and consequently a competition for the appointment took place between the architects of Rome, among whom were Raphael, Fra Gioconda, and Peruzzi. In compliance with the last request of the dying Bramante, Leo installed Raphael in the vacant office, with Gioconda for his assistant. The artist was very much interested in the discovery and preservation_of all the art remains of antiquity. He formed a plan for excavating the whole of ancient Rome, for the purpose of disinterring all such treasures. He wished also to make an "accurate survey of the city, with representations of all the remains of ancient buildings, so as to obtain, from what might yet be seen, a complete draught or model of the whole as it existed in the most splendid era of its prosperity." A letter on this subject which he addressed to the reigning pontiff is still in existence. He commences:-"There are many persons, holy father, who estimating great things by their own narrow judgment, esteem the military exploits of the ancient Romans, and the skill which they have displayed in their buildings, so spacious and so richly ornamented, as rather fabulous than true. With me, however, it is widely different; for when I perceive in what yet remains of Rome the divinity of mind which the ancients possessed, it seems to me not unreasonable to conclude, that many things were to them easy, which to us appear impossible. Having therefore, under this conviction, always been studious of the remains of antiquity, and having with no small labour investigated, and accurately measured such as have occurred to me, and compared them with the writings of the best authors on this subject, I conceive that I have obtained some acquaintance with the architecture of the ancients. This acquisition, while it gives me great pleasure, has also affected me with no small concern, in observing the inanimate remains as it were of this noble city, the queen of the universe, thus lacerated and dispersed. As there is a duty from every child towards his parents and country, S |
