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diff --git a/44033-0.txt b/44033-0.txt new file mode 100644 index 0000000..34118e5 --- /dev/null +++ b/44033-0.txt @@ -0,0 +1,1041 @@ +*** START OF THE PROJECT GUTENBERG EBOOK 44033 *** + + MASTERPIECES + IN COLOUR + EDITED BY - - + T. LEMAN HARE + + + RAPHAEL + + 1483-1520 + + + + + "MASTERPIECES IN COLOUR" SERIES + + + ARTIST. AUTHOR. + VELAZQUEZ. S. L. BENSUSAN. + REYNOLDS. S. L. BENSUSAN. + TURNER. C. LEWIS HIND. + ROMNEY. C. LEWIS HIND. + GREUZE. ALYS EYRE MACKLIN. + BOTTICELLI. HENRY B. BINNS. + ROSSETTI. LUCIEN PISSARRO. + BELLINI. GEORGE HAY. + FRA ANGELICO. JAMES MASON. + REMBRANDT. JOSEF ISRAELS. + LEIGHTON. A. LYS BALDRY. + RAPHAEL. PAUL G. KONODY. + HOLMAN HUNT. MARY E. COLERIDGE. + TITIAN. S. L. BENSUSAN. + MILLAIS. A. LYS BALDRY. + CARLO DOLCI. GEORGE HAY. + GAINSBOROUGH. MAX ROTHSCHILD. + TINTORETTO. S. L. BENSUSAN. + LUINI. JAMES MASON. + FRANZ HALS. EDGCUMBE STALEY. + VAN DYCK. PERCY M. TURNER. + LEONARDO DA VINCI. M. W. BROCKWELL. + RUBENS. S. L. BENSUSAN. + WHISTLER. T. MARTIN WOOD. + HOLBEIN. S. L. BENSUSAN. + BURNE-JONES. A. LYS BALDRY. + VIGÉE LE BRUN. C. HALDANE MACFALL. + CHARDIN. PAUL G. KONODY. + FRAGONARD. C. HALDANE MACFALL. + MEMLINC. W. H. J. & J. C. WEALE. + CONSTABLE. C. LEWIS HIND. + RAEBURN. JAMES L. CAW. + JOHN S. SARGENT. T. MARTIN WOOD. + LAWRENCE. S. L. BENSUSAN. + DÜRER. H. E. A. FURST. + MILLET. PERCY M. TURNER. + WATTEAU. C. LEWIS HIND. + HOGARTH. C. LEWIS HIND. + MURILLO. S. L. BENSUSAN. + WATTS. W. LOFTUS HARE. + INGRES. A. J. FINBERG. + COROT. SIDNEY ALLNUTT. + DELACROIX. PAUL G. KONODY. + + _Others in Preparation._ + + + + +[Illustration: PLATE I.--THE ANSIDEI MADONNA. Frontispiece + +(In the National Gallery, London) + +Better than any other picture by Raphael, this important altar-piece +shows the precociousness of Raphael's genius, for it was painted at +Perugia in 1506, when the master had scarcely passed into the +twenty-third year of his life. He had then just returned from Florence, +but, probably to humour his patrons, the Ansidei family, he reverted in +this picture once again to the formal manner of his second master, +Perugino. The "Ansidei Madonna" has the distinction of being the most +costly picture at the National Gallery--it was purchased in 1885 from +the Duke of Marlborough for £70,000.] + + + + + RAPHAEL + + BY PAUL G. KONODY + + ILLUSTRATED WITH EIGHT + REPRODUCTIONS IN COLOUR + + [Illustration: IN SEMPITERNUM] + + LONDON: T. C. & E. C. JACK + NEW YORK: FREDERICK A. STOKES CO. + + + + + LIST OF ILLUSTRATIONS + + + Plate + I. The Ansidei Madonna Frontispiece + In the National Gallery, London + + Page + II. The Madonna del Gran Duca 14 + In the Pitti Palace, Florence + + III. The Madonna della Sedia 24 + In the Pitti Palace, Florence + + IV. "La Belle Jardinière" 34 + In the Louvre + + V. The Madonna of the Tower 40 + In the National Gallery, London + + VI. Pope Julius II. 50 + In the Uffizi Gallery, Florence + + VII. Putto with Garland 60 + In the Academy of St. Luca, Rome + + VIII. Portrait of Raphael 70 + In the Uffizi Gallery, Florence + + + + +I + + +"And I tell you that to paint one beautiful woman, I should need to see +several beautiful women, and to have you with me to choose the best," +wrote Raphael, then at the zenith of his fame and good fortune, to his +life-long friend Count Baldassare Castiglione, who--the ideal courtier +himself--has given the world that immortal monument of Renaissance +culture, the Book of the Courtier. In penning these lines the prince of +painters intended, perhaps, no more than a pretty compliment to one who +was himself a model of courtesy and graceful speech, but the words +would gain deep significance if _picture_ were substituted for _woman_, +and if Castiglione were taken to signify the personification of +intellect and learning. For the beauty of Raphael's art, which in the +course of four centuries has lost none of its hold upon the admiration +of mankind, is distilled from the various elements of beauty contained +in the art that had gone before him and was being created around him; +and in choosing the best, at least as far as idea and conception are +concerned, he was guided by the deepest thinkers and keenest intellects +of what were then the world's greatest centres of culture. + +Raphael was, indeed, born under a happy constellation. He was not a +giant of intellect, nor an epoch-making genius; as Michelangelo said of +him, he owed his art less to nature than to study; but he was born at a +time when two centuries of gradual artistic development had led up to a +point where an artist was needed to gather up the diverging threads and +bring the movement to a culmination, which will stand for all times as +a standard of perfection. Advantages of birth and early surroundings, +charm of appearance and disposition which made him a favourite wherever +he went, receptivity, adaptability, and application, and above all an +early and easy mastery of technique, were combined in Raphael to lead +him to this achievement. The smooth unclouded progress of his life from +recognition to fame, from prosperity to affluence, is not the turbulent +way of genius. Genius walks a sad and lonely path. Michelangelo, the +turbulent spirit, morose and dissatisfied, Lionardo da Vinci, pursuing +his high ideals without a thought of worldly success until his lonely +old age sees him expatriated and contemplating the fruitlessness of all +his labours--these men of purest genius have little in common with the +pliant courtier Raphael, the head himself of a little court of faithful +followers. The story goes that Michelangelo, in the bitterness of his +spirit, when meeting his happy rival at the head of his usual army of +some fifty dependants on his way to the Papal court, addressed him with +the words "You walk like the sheriff with his _posse comitatus_." And +Raphael, quick at repartee, retorted "And you, like an executioner +going to the scaffold." Whether the anecdote be true or not, it marks +the difference between the course of talent--albeit the rarest +talent--and that of genius. + +[Illustration: PLATE II.--THE MADONNA DEL GRAN DUCA + +(In the Pitti Palace, Florence) + +This picture, remarkable for the effective simplicity of its design and +for the purity of the Virgin's face, derives the name by which it is +commonly known from the fact that it was bought in 1799 by the Grand +Duke Ferdinand III. from a poor widow, and held by him in such esteem +that he would never part from it and always took it with him on his +travels. At one time it was actually credited with the power of working +miracles. It is one of the first works of Raphael's Florentine period, +and now hangs in the Pitti Palace, Florence.] + +What are the qualities of Raphael's art that have carried his fame +unsullied through the ages and made him the most popular, the most +admired, of all painters? The greatest of the primitives, and of the +later masters Velazquez, Rembrandt, Frans Hals, Watteau, to mention +only a few of the brightest beacons in the realm of art, have at some +time or other been eclipsed and held in slight esteem. Raphael alone +escaped the inconstancy of popular favour; he was set up as an idol +before he left the world to mourn his untimely death, and in the course +of the years the world's idolatrous worship was extended even to the +feeble handiwork of his assistants, which often passed under his name. +Only within the memory of living men did this blind and +indiscriminating worship lead to a reaction as indiscriminating. But +this reaction was confined to a comparatively small circle of +æsthetically inclined art enthusiasts; and to-day, when the more +scientific methods of criticism have succeeded in sifting the wheat +from the chaff--the master's own work from the factory-like production +of his bottega--he has been reinstated in all his former glory. +Contemptuous hostility to Raphael's art has ceased to be a fashionable +pose. The frank acknowledgment of the perfection of this art is no +longer stayed by the consciousness of the harm done by that imperfect +imitation of the Raphaelic code of beauty, which has been the result of +all academic teaching in Europe since the founding of the Prix de Rome. + +Beauty, formal beauty, pure and faultless, must appeal to everybody; +and Raphael means to us the perfection of beauty--such beauty as lies +in rhythm, balance, colour, form, and execution. It is a calculated +beauty, the lucid, unambiguous expression of an absolutely normal, +well-balanced mind assisted by an unerring hand; hence it is +intelligible to everybody without that unconscious mental effort which +is needed for the understanding of an art of greater emotional +intensity. It is of the very essence of art that it should express an +emotion; a picture which is merely imitative without holding a hint of +what the artist felt at the time of creating it, ceases to be a work of +art, even if it represents a subject beautiful in itself. On the other +hand, an ugly subject may be raised to sublime art by emotional +statement; but this emotion is of necessity more complex and more +difficult to understand than that simplest of all emotions, the +pleasure caused by the contemplation of beauty. This accounts for the +common fallacy that art and beauty are indissolubly connected, and for +the favouritism shown by all the successive generations to Raphael +whose brush was wedded to beauty in the classic sense, and whose art +knew nothing of the beauty of character. + +But beauty alone does not constitute Raphael's greatness, or Bouguereau +and many other modern academic painters would have to be accounted +great instead of being merely dull and insipid. Raphael developed to +its utmost power of expressiveness the art of space-composition, the +secret of which was the heritage of the Umbrian painters. What +space-composition means cannot be better defined than it has been by +Mr. Berenson: "Space-composition differs from ordinary composition in +the first place most obviously in that it is not an arrangement to be +judged as extending only laterally, or up and down on a flat surface, +but as extending inwards in depth as well. It is composition in three +dimensions, and not in two, in the cube, not merely on the surface.... +Painted space-composition opens out the space it frames in, puts +boundaries only ideal to the roof of heaven. All that it uses, whether +the forms of the natural landscape, or of grand architecture, or even +of the human figure, it reduces to be its ministrants in conveying a +sense of untrammelled, but not chaotic spaciousness. In such pictures, +how freely one breathes--as if a load had just been lifted from one's +breast; how refreshed, how noble, how potent one feels; again, how +soothed; and still again, how wafted forth to abodes of far-away +bliss!" + +This sense of space and depth is achieved by methods which have nothing +in common with our modern art of creating the illusion of what is +called "atmosphere"--not by the "losing and finding" of contours, not +by the application of optical theories, such as the zone of +interchanging rays which dissolves all hard outlines, nor by the +blurring and fogging of the distance. Space-composition in the sense in +which it was practised by Raphael is closely akin to the art of +architecture in its appeal to our emotions. + +As an illustrator, again, Raphael was unequalled as regards clear, +direct, measured statement of all that is essential to the immediate +grasping of the idea or incident depicted. The first glance at one of +Raphael's works, whether it be a small panel picture or a monumental +fresco, reveals its whole purport, and that in a manner so complete and +lucid and convincing as could not be achieved by any other method of +expression. With infallible sureness he invariably found the shortest +way for the harmonious statement of idea, form, and emotion, which in +his work are always found in perfect balance and so completely +permeated by each other as to constitute an indissoluble trinity. + +Another reason for Raphael's powerful appeal--and in this he is perhaps +the most typical child of his period--is that his art unites in one +majestic current the two greatest movements of thought which have ever +fired the imagination of civilised Europe; classic antiquity and +Christian faith, when treated by Raphael's brush, cease to be +incompatible and live side by side in that measured harmony which is +the hall-mark of his art. Christianity is presented to us in the +glorious classic garb of the old world, and the myth and philosophy of +the ancients are brought into intimate relationship with Christian +teaching. He infuses new blood and life into the stones of ancient +Greece and Rome--unlike Mantegna who had remained cold and classic in +his relief-like reconstructions of antiquity; just as he accentuates +the human emotional side of the Madonna and Child _motif_ by discarding +all hieroglyphic symbolism and setting before our eyes the intimate +link of love that connects mother and babe. Almost imperceptibly his +cupids are transformed into child angels, and the Jehovah of his +"Vision of Ezekiel" has more in common with Olympian Jove than with +the mediæval conception of the Lord of Heaven. + +[Illustration: PLATE III.--THE MADONNA DELLA SEDIA + +(In the Pitti Palace, Florence) + +The Madonna "of the Chair," one of the most characteristic and +deservedly popular of Raphael's numerous versions of the Virgin and +Child _motif_, belongs to the master's full maturity, and was painted +during his sojourn in Rome, at the time when he was occupied with the +stupendous task of decorating the _Stanze_ of the Vatican. It would be +difficult to find in the whole history of art a more pleasing solution +of the problem presented by a figure composition in the round. The +picture is now in the Pitti Palace, Florence.] + +Just as Timoteo Viti, Perugino, Fra Bartolommeo, Lionardo da Vinci, +Masaccio, Michelangelo, and Sebastiano del Piombo (who imparted to him +something of the glow of Venetian colouring), had been the sources from +which Raphael drew his knowledge of technique, colour, composition, and +all the elements of pictorial style, so the humanists had paved his way +as regards the intellectual aspect of his art. His marvellous faculty +of rapid assimilation enabled him, on the one hand, to appropriate +whatever he found worthy of imitation in his precursors and +contemporaries, and thus to complete his technical equipment at an age +at which it was given to few to have achieved mastery; whilst, on the +other hand, his clear intellect, aided by the not entirely unmercenary +desire to please his patrons, helped him to carry out with +triumphant success the ideas evolved by the keenest thinkers of his +time. To doubt that the general idea, and perhaps a good many of the +details, of such a stupendous work as the fresco decoration of the +_Stanze_ at the Vatican, had originated in Raphael's head, is not to +detract from his greatness. He was a boy in his early teens when he +entered his first master's bottega. He was a youth of twenty-five when +he started on his great task; and the intervening years had been so +completely filled with the study of his craft and with the execution of +important commissions, that it is impossible to believe he could have +found much leisure for book-learning. And such learning was +indispensable for the conception of that elaborate scheme with all its +historical allusions and allegorical imagery. The wonder is that +Raphael could so completely enter into the suggestions made to him +from various sources, and to weave them into a tissue of immortal +beauty. + + + + +II + + +At the end of the fifteenth century the rule of the Duke Federigo of +Montefeltre, an enlightened prince who devoted the best of his energy +and such time as he could spare from his duties on the battlefield to +the patronage of the arts, to the adornment of his noble palace, and to +the collecting of priceless manuscripts, paintings, antiques, and works +of art of every description, had raised the old city of Urbino to one +of the centres of culture and learning, and made the ducal court a +gathering-place for the distinguished painters, architects, poets, and +humanists who were attracted by the wealth and liberality of this great +patron. Among the less distinguished satellites attracted by the sun +of Montefeltre was one Giovanni Santi, who had come to Urbino in the +middle of the fifteenth century. Though a painter of considerable +skill, trained perhaps by Fiorenzo di Lorenzo, he found it necessary in +the early days of his sojourn at Urbino to supplement his modest income +by trading in oil and corn and other commodities, as his father had +done before him. But his varied accomplishments soon brought him into +prominence and secured him a position as court painter and poet. More +important than any of the pictures that have come to us from his brush +is his famous rhyming chronicle of 23,000 verses in Dantesque measure, +in which he glorifies the virtues and exploits of his patron. He was a +special favourite of Elisabetta Gonzaga, the youthful spouse of +Federigo's son Guidobaldo, whose high esteem for Giovanni is expressed +in a letter in which she informs her sister-in-law of the court +painter's death. + +To this Giovanni Santi and to his wife Magia Ciarla was born on Good +Friday, the 28th of March[1] 1483, a son who was destined in the +comparatively short span of his life to rise to fame such as has been +the share of few mortals. An elder brother and sister of Raphael had +died in infancy, and his mother followed them to the grave before he +had reached his eighth year. Her place in the paternal home was taken +by Bernardina Parte, a goldsmith's daughter, whom Giovanni wedded soon +after his first wife's death. From Giovanni Santi's great poem it would +appear that he was on terms of friendship and intimacy with some of the +greatest masters of the time, such as Melozzo da Forli, Mantegna, Pier +dei Franceschi, and Verrocchio; and it is reasonable to assume that +Raphael's earliest art education under his father's guidance tended +towards the development of that peculiar faculty which enabled him +later on to seize and assimilate the excellences in the style of the +various masters with whom he came in contact. + + Footnote 1: The wording of Raphael's epitaph, which states that he + died on the same day (of the year) on which he was born, has led some + writers to the assumption that he was born on April 6, whereas it is + merely meant to signify that he was born and died on Good Friday. + +The ease with which his precocious talent absorbed the teaching of his +masters became evident when, soon after his father's death, in 1494, +from fever contracted in the malarial air of the Mantuan marshland, +whither he had gone in the service of Elisabetta Gonzaga, he entered +the bottega of Francia's pupil Timoteo Viti (or della Vite), who +settled at Urbino in 1495, and whose eminent position among the +painters of that city must have suggested to Raphael's guardian--his +maternal uncle Simone Ciarla--the desirability of placing the youth +under such competent tuition. And so thoroughly did Raphael acquire +not only his first master's style, but even such of his mannerisms as +the broad shape of hands and feet and the languid turn of the heads, +that from such internal evidence Morelli, the originator of the modern +method of criticism, was able after more than three centuries of error +to disprove Vasari's assertion that Raphael passed straight from his +father's workshop into that of Perugino. Timoteo's influence is +apparent even in works painted by Raphael at a time when he had come +under the spell of the more powerful personality of Perugino, like the +"Sposalizio" or "Betrothal of the Virgin," of 1504, in the Brera +Gallery in Milan; but it is unmistakably in evidence in the three +earliest pictures that bear Raphael's name: the "Vision of a Knight," +at the National Gallery, the "St. Michael," at the Louvre, and the +"Three Graces," at Chantilly. Not only the features which connect this +group of pictures with the style of Timoteo Viti, but the timid +meticulous execution and the naïve stiffness of the figures, mark them +as works of Raphael's immature youth. The turn of the century, as we +shall see, found Raphael at Perugia, so that the three pictures +mentioned must have been painted before he had attained the age of +seventeen. The panel of the "Three Graces," which, by the way, was +obviously inspired by an antique cameo, was bought in 1885 by the Duc +d'Aumale from Lord Dudley's collection for £25,000--surely a price +without parallel for a work painted by a lad of sixteen! A portrait in +chalk of the marvellously gifted, winsome boy by the hand of his first +master is preserved at the University Galleries in Oxford. + +The records of a lawsuit between some members of his family prove that +Raphael was still at Urbino in 1499, since in the summer of this year +he appeared as a witness in court. When the verdict was given in the +following year, he had already left for Perugia to continue his studies +as an assistant of Perugino. Again we find him before long assimilating +the style of his new master so successfully and completely that, to use +Vasari's words, "His copies cannot be distinguished from the original +works of the master, nor can the difference between the performances of +Raphael and those of Pietro be discerned with any certainty." +Plagiarism in those days did not trouble the artistic conscience, and +it is easy to trace in Raphael's pictures of that period entire groups +that are borrowed from the elder master. Thus the "Crucifixion," +painted about 1501 for a church in Città di Castello, and now in the +collection of Dr. Ludwig Mond, is obviously based on Perugino's version +of the same subject at St. Augustine's, Siena, whilst the whole upper +part of the Vatican "Coronation of the Virgin" is "lifted" from an +"Assumption" by Pietro. But this almost literal imitation was only a +passing phase, whilst the great lesson of space-composition and the +typically Umbrian gift of almost religious fervour in stating the +peaceful glory of the Umbrian hill-land, which had been imparted to +Raphael at Perugia, remained permanent acquisitions to his art. + +[Illustration: PLATE IV.--LA BELLE JARDINIÈRE + +(In the Louvre) + +"La Belle Jardinière" is a magnificent example of Raphael's Florentine +style, which came from his being influenced by Leonardo da Vinci when +at Florence (see the triangular composition). The Virgin's mantle was +probably finished by Ridolfo Ghirlandaio; other parts--the hands and +the feet--are hardly finished; nevertheless it is one of the finest, +most expressive, and touching Madonnas by the Master.] + +In 1502 Perugino went back to Florence, and Raphael probably joined +Pinturicchio's staff of assistants, though Vasari's statement that he +furnished the designs for the latter master's frescoes in the +Piccolomini Library at Siena may be dismissed as a fable. During this +time Raphael painted his first Madonna pictures, notably the +"Conestabile Madonna" (now at St. Petersburg), which is based entirely +on Perugino's "Virgin with the Pomegranate," and two panels at the +Berlin Museum. The Milan "Sposalizio," in which the young master's +personality already asserts itself through the very marked Ferrarese +and Peruginesque influences, was painted in 1504 for the church of St. +Francesco at Città di Castello. His early mastery in portraiture is +illustrated by his portrait of Perugino at the Borghese Gallery, which +is so firm in character and perfect in execution that it could pass for +many years as the handiwork of Holbein. + +Meanwhile Duke Guidobaldo had returned to Urbino after the death of his +enemy, Pope Alexander VI., and thither Raphael proceeded in 1504. The +little "St. George" at the Louvre is a memento of this short visit +which terminated in October of the same year, when Raphael, armed with +a letter of warmest recommendation from Guidobaldo's sister Giovanna +della Rovere to the Gonfaloniere Pier Soderini, left his native town +for Florence, then the centre of artistic life, astir with the rivalry +between the giants Michelangelo and Lionardo da Vinci. + +The young man must have been fairly bewildered at the multitude of new +impressions that crowded upon him in the glorious city on the banks of +the Arno, with its imposing palaces and churches, its seething life and +its art so much more virile and monumental than the dreamy, almost +effeminate art engendered by the soft balmy atmosphere of Umbria. How +he must have revelled in the contemplation of Masaccio's noble frescoes +in the Brancacci Chapel--the training school of generations of +painters--which ten years later were echoed in his tapestry cartoons +for the Sistine Chapel! How he must have stood in wonder and amazement +before Michelangelo's "David," and have resolved forthwith to devote +himself to a more intimate study of the human form and movement! The +fascination exercised upon him by the genius of Lionardo found +expression in some of the earliest fruits of Raphael's sojourn in +Florence--the portraits at the Pitti Palace known as "Angelo Doni" and +his wife Maddalena Strozzi, who, however, could not possibly have been +the model for this reminiscence of Lionardo's "Mona Lisa," since it is +known that she was baptized in 1489, whereas Raphael's portrait of 1504 +represents a woman of ripe age. + +In the workshop of the architect Baccio d'Agnolo, which was then a +favourite social resort of the younger artists of Florence, the youth +from Urbino met on terms of equality such masters as Ridolfo +Ghirlandajo, Antonio da Sangallo, Sansovino, and Fra Bartolommeo, who +again had a considerable share in the formation of Raphael's style, as +may be seen from the "Madonna di Sant'Antonio," now lent to the +National Gallery by Mr. Pierpont Morgan who is said to have paid for it +the enormous price of £100,000. This picture, and the "Ansidei +Madonna," which was bought for the National Gallery from the Duke +of Marlborough's collection for £70,000, were painted during a visit to +Perugia towards the end of 1505--the former for the nuns of St. Antony +of Padua, in Perugia, and the other for the Ansidei Chapel in the +church of San Fiorenzo of the same city. + +[Illustration: PLATE V.--THE MADONNA OF THE TOWER + +(In the National Gallery, London) + +This beautiful painting, which the National Gallery owes to the +generosity of Miss Eva Mackintosh, who presented it to the nation in +1906, was at one time in the collection of the Duc d'Orléans. The late +owner was fortunate in securing this unquestionably genuine masterpiece +at the Rogers' sale in 1856 for 480 guineas. It was painted about 1512; +and a copy of it by Sassoferrato is in the Leichtenburg collection in +St. Petersburg.] + +The records of Raphael's movements between 1504 and 1508, when he +finally left Florence, are scanty and unreliable. Certain it is that, +besides his visit to Perugia, he spent some time at Urbino in 1506, +when he painted for Guidobaldo the "St. George" which figured among the +gifts taken by Castiglione to Henry VII. of England, from whom the Duke +of Urbino had received the insignia of the Garter two years previously. +The picture is now at the Hermitage in St. Petersburg. The majority of +those exquisite Madonna pictures, which have contributed more than +anything else to Raphael's undying fame and popularity, date from his +Florentine period--the "Madonna del Granduca" at the Pitti Palace, the +"Casa Tempi Madonna" at Munich, the Chantilly "Madonna of the House of +Orleans," the "Madonna of the Meadow" in Vienna, the "Madonna of the +Goldfinch" at the Uffizi, the "Madonna of the Lamb" at Madrid, Lord +Cowper's famous picture at Panshanger, and the "Belle Jardinière" at +the Louvre. + +To the same period belongs the portrait of himself, in the Painter's +Hall of the Uffizi, and the portrait of a youth in the Budapest +National Gallery. On the occasion of his visit to Perugia, Atalanta +Baglione, the mother of Grifonetto Baglione who had fallen a victim to +the bloody family feud that turned Perugia into a slaughter-house in +1500, commissioned from Raphael an altar-piece in memory of that +event--the "Entombment" which the master finished in Florence in 1507, +and which is now at the Borghese Gallery. It was Raphael's first +attempt at dramatic composition, the art of which he had yet to +master--its forced, unnatural emotion lays it more open to criticism +than any other work from his own hand. + +A law-case in connection with the payment of 100 crowns due by him for +a house he had purchased from the Cervasi family, necessitated +Raphael's presence at Urbino once again in October 1507. In April of +the following year Guidobaldo died; and a letter from Raphael to his +uncle Simone Ciarla, who had informed him of this sad event, proves +that the master was then back again in Florence. After expressing his +grief at the news of the Duke's death ("I could not read your letter +without tears"), Raphael appeals in this letter to his uncle to procure +him another letter of recommendation to the Gonfaloniere of Florence +"from my Lord the Prefect," since it was in the power of the chief +magistrate of Florence to place an important commission for the +decoration of a certain apartment. + +But a better fate was in store for the youthful applicant, who was to +be called to a wider field of action. According to Vasari it was +Raphael's kinsman, Bramante of Urbino, who drew Pope Julius II.'s +attention to the rare gifts of Raphael, and caused him to be summoned +to Rome. And the voice of Bramante, who stood in high favour with the +Pope, and was engaged on the scheme of rebuilding the Cathedral of St. +Peter, would certainly have commanded attention. But on this, as on +many other points, Vasari is not wholly trustworthy. First of all, +Bramante was not connected with Raphael by any family ties; and, then, +it is far more probable that the thought of calling Raphael to Rome to +assist in the decoration of the papal apartments in the Vatican was +suggested to Julius II. by the Prefetessa Giovanna della Rovere, who +had always been a staunch supporter of the Urbinate, or by her son +Francesco, the nephew and successor of Duke Guidobaldo Montefeltre. +Bramante, who was on terms of friendship with his fellow-artist and +fellow-townsman, may well have supported the recommendation. However +this may be, Raphael received the Pope's command, and journeyed to +Rome, whither he had already been preceded by Michelangelo. + + + + +III + + +Raphael came to Rome before September 1508, for on the 5th of that +month he sent a letter from the city of the popes to Francia at +Bologna, whom he had probably met at Urbino. It must have been an +intoxicating experience for the young master to find himself suddenly +surrounded by the wonders of the classic world which at that time +dominated the whole world of thought so that Christianity itself became +permeated with Paganism; and to be as suddenly raised from the modest +position, which in Florence had made him look with awe and veneration +upon Michelangelo and Lionardo, to independent responsibility, as the +compeer of the greatest of his calling. From the very first Pope Julius +II. seems to have placed the utmost confidence in the newcomer, and the +manner in which Raphael accomplished the first task set to him by his +mighty patron not only justified this confidence but apparently made +the Pope dissatisfied with much of the decorative work that had been +executed in the Vatican rooms before the advent of the Urbinate. + +Julius II.'s hatred of his predecessor, Alexander VI., had made it +distasteful for him to live in the apartments that had been occupied by +the Borgia Pope, so that he decided, in 1507, to move into the upper +rooms of the Vatican, which, under the pontificate of Nicholas V., had +been decorated by Pier dei Franceschi and Bramantino. These frescoes, +however, did not find favour with the new Pope, who enlisted the +services of Perugino, Peruzzi, Sodoma, Signorelli, and Pinturicchio for +the redecoration of the _Stanze_, and finally entrusted Raphael with +the painting of four medallions in Sodoma's ceiling in the first room, +the Camera della Signatura. There has been some divergence of opinion +as to the use of this room, but the subjects of the decorative scheme +clearly point towards its being originally intended for a library. The +allegorical figures of Theology, Philosophy, Jurisprudence, and Poetry +with which Raphael filled the four medallions of the vaulted ceiling, +were often used for the decoration of libraries during the late +Renaissance; and the frequent occurrence of books in all the +compositions lends further probability to this theory. + +So delighted was Julius II. with the manner in which Raphael had +acquitted himself of his first commission, that he, forthwith, charged +him with the decoration of the entire suite of four rooms, and +ruthlessly decreed the destruction of all the fresco-work previously +done by other hands. But Raphael, in his hour of victory, gave proof of +that generous and amiable disposition which endeared him to all with +whom he came in contact. He prevailed upon his impetuous employer to +save some of the work of Baldassare Peruzzi and of Perugino, and +Sodoma's ceiling decoration in the Camera della Signatura. A series of +heads by Bramantino, "so beautiful and so perfectly executed, that the +power of speech alone was required to give them life," had to go, but +before their destruction Raphael had them copied by one of his +assistants. After his death these copies were presented by Giulio +Romano to Paolo Giovio, and it is more than probable that they are +identical with the "Bramantino" portraits from the Willett collection, +now at the Metropolitan Museum, New York, and at South Kensington. Sir +Caspar Pardon Clarke, the director of the former institution, at least +favours this theory which I first advanced in the _New York Herald_ in +1905. + +[Illustration: PLATE VI.--POPE JULIUS II. + +(In the Uffizi Gallery, Florence) + +Raphael's greatness as a portrait painter may be judged from his +painting of his first papal patron, the warlike Giuliano della Rovere, +who as Pope adopted the name of Julius II. This portrait has more than +the perfection of form, colour, and execution that is ever associated +with Raphael's name. It has depth of character, dignity, and serious +concentration of thought, and is worthy of being placed beside +Velazquez's immortal portrait of Pope Innocent X. The picture is at the +Uffizi Gallery, but replicas are to be found at the Palazzo Pitti and +at the National Gallery.] + +But to return to Raphael's work in the Camera della Signatura, the +thought and knowledge and learning displayed in the whole scheme either +prove that the young master rapidly fell into line with the +intellectual movement of his day, or that he wisely sought the advice +of those who stood at the head of this movement. Indeed, we know of a +letter in which he asks the poet Ariosto to advise him about certain +details. Moreover, the Pope himself, no doubt, suggested his own ideas +to his favourite painter; whilst the cultured Cardinal Bibbiena, Count +Baldassare Castiglione, and the famous humanist Pietro Bembo, his +intimate friends, were ever at his disposal, and Bramante probably +assisted him in designing the architectural setting to his groups. +Raphael himself, though extraordinarily receptive, and better able than +anybody else to clothe an idea in the most perfect pictorial forms, was +not a man of learning. With Dante's and Petrarch's poetry he must have +been made familiar in his father's house. He had probably dipped into +the writings of Marsilio Ficino, and also acquired a knowledge of the +rudiments of classic lore; but that he never mastered the Latin tongue, +which was then a _sine quâ non_ of all real culture and learning, is +clearly evident from the fact that in the closing years of his life, +when he held the appointment of inspector of antiquities, he had to +enlist the learned humanist Andrea Fulvio to translate for him the +Latin inscriptions on classic ruins. + +In the Camera della Signatura, Raphael's entire decoration has the same +sense of orderly arrangement, the same unity of conception in the +endless variety of _motif_ and incident, as each individual fresco of +the scheme. On the pendentives, which connect the ceiling medallions +with the large frescoes on the walls, he painted the "Fall of Man" next +to "Theology," the "Judgment of Solomon" next to "Law," the "Triumph of +Apollo over Marsyas" to accompany "Poetry," and an allegorical +representation of "Astronomy" (or "Natural Science") to go with +"Philosophy." After an enormous amount of preparatory work he proceeded +to fill the large wall under "Theology" with the wonderful monumental +fresco known as the "Disputa del Sacramento," which, far from +representing a dispute, shows the confessors and saints and fathers of +the Church (and among them Dante, Savonarola, and Fra Angelico) united +in acknowledging the triumph of the Church and the miracle of the +Eucharist. + +On the opposite wall, under "Philosophy," is the so-called "School of +Athens," in which, in accordance with the contradictory spirit of the +age, the philosophic systems of the ancient world are glorified in the +same manner as is Christianity in the "Disputa." In that nobly-arranged +group of philosophers, Raphael's friends and contemporaries--Bramante, +Lionardo, Castiglione, Francesco della Rovere, Federigo Gonzaga, +Sodoma, the artist himself, and many others--figure in the guise of +Euclid, Plato, Zoroaster, and other sages. Raphael's compositional +skill was not baffled by the awkward intrusion of large door-frames +into the space of the remaining two walls, on one of which, under the +Poetry medallion, he depicted "Parnassus," with the muses and poets +(Homer, Virgil, Dante, Ariosto, Boccaccio, Tebaldeo, Sappho, &c.) +grouped around Apollo, who plays a viol instead of the customary lyre. +Above the door on the last wall are allegorical figures of Fortitude, +Prudence, and Temperance, and at the sides "Justinian delivering the +Pandects," and "Gregory IX." (impersonated by Julius II.) promulgating +the Decretals. The entire room was finished before November 1511. + +It was probably in the same year that Raphael painted the magnificent +portrait of Julius II. at the Pitti Palace, stern of feature and +careworn, as he well might have appeared at this time of political +disaster culminating in the loss of Bologna. But when Raphael set about +the decoration of the "Stanza of Heliodorus," the Pope's star was again +in the ascendant, and his policy had achieved the signal triumph of +defeating the French and driving them out of the country. The subjects +chosen for the decoration of this room are in consequence more or less +directly connected with these events, especially the fresco from which +the apartment derives its name: the "Expulsion of Heliodorus from the +Temple of Jerusalem"--an obvious allusion to the expulsion of the +French forces. The fresco is remarkable for the effective contrast of +the tumultuous dramatic movement on the right, and the stately repose +of the group on the left, around the majestically enthroned figure of +Pope Julius II. + +The same potentate of the Church appears kneeling opposite the +officiating priest in the fresco of the "Mass of Bolsena," which +illustrates the miracle of drops of blood appearing from the Host +before the eyes of the priest who doubts the dogma of the +transubstantiation, an event which has led to the institution of the +Corpus Christi celebration. The fresco was probably inspired by Julius +himself, who had visited the chapel of Bolsena on his campaign against +Bologna, and perhaps made a vow on this occasion to commemorate his +visit by a votive offering. This "Mass of Bolsena" fresco is remarkable +for the almost Venetian glow of warm colour, a result, no doubt, of the +knowledge imparted to Raphael by Sebastiano del Piombo, who had come to +Rome from Venice in 1511. The wall opposite illustrates the "Liberation +of St. Peter from Prison," which is, however, not an allusion, as has +been suggested, to Leo X.'s escape from French captivity, since it was +begun under the régime of Julius II., who more probably intended it to +signify the Deliverance of the Church. On the last wall is depicted the +"Retreat of Attila before St. Leo," with Leo X., who had succeeded +Julius II. in 1513, impersonating his namesake, but there is little of +Raphael's handiwork in this fresco, the execution of which is almost +entirely due to his assistants. The decoration of this stanza was +completed in 1514, a year which brought further honours and duties to +Raphael who was then appointed to succeed Bramante as architect of St. +Peter's. + +[Illustration: PLATE VII.--PUTTO WITH GARLAND + +(In the Academy of St. Luca, Rome) + +The fresco of a _putto_, now at the Academy of St. Luca in Rome, is the +only fragment that is left to the world of all the decorative work +executed by Raphael for the corridor leading from the famous _Stanze_ +of the Vatican to the Belvedere. It probably belonged to a shield +bearing the papal arms, and is a graceful and characteristic example of +the master's treatment of the form of children which he loved to +introduce into his compositions.] + +Henceforth Raphael is to be considered rather as the head of a little +army of painters and craftsmen, whom he supplied with ideas and designs +to be executed under his directions, than as a master who is to be held +responsible for the working out of every detail in the works which were +turned out from his bottega with his sanction, and under his name. Even +in the early years of his Roman period, comparatively few of the +altar-pieces and easel pictures commissioned from him were entirely the +work of his brush. In the ever popular "Madonna della Sedia," at the +Pitti Palace, we have pure Raphael, and also in the masterpiece known +as the "Madonna di Foligno," which was painted for the Pope's +Chamberlain Sigismondi dei Conti, for his family chapel in the church +of Ara Coeli in 1512, in commemoration of this dignitary's escape from +a bursting fireball, as is indicated by the meteor in the landscape +background. This picture was subsequently removed to Sigismondo's +birthplace Foligno, whence it was carried off by the French in 1797, +but had to be eventually restored, and is now among the treasures of +the Vatican. The sadly deteriorated "Madonna of the Tower," at the +National Gallery, and the "Madonna di Casa d'Alba," at the Hermitage, +are probably of the master's own execution; but Giulio Romano and other +pupils must be held responsible for the "Vierge au Diadème," the +"Madonna del divino Amore," the "Garvagh Madonna," the "Madonna of the +Fish," the "Madonna of the Candelabra," and several other well-known +pictures for which Raphael had supplied the designs. + + + + +IV + + +A letter written by Raphael to his uncle Simone Ciarla on the 1st of +July 1514 is of incalculable importance for the light it throws upon +the master's private life and character. It is written by a man flushed +with success, but modest withal--in the full enjoyment of all the gifts +that fortune and his talent and tact have brought to him, but in no way +overbearing or boastful. And through it all sounds a note of cool +calculation--in money matters as well as in the weighing of matrimonial +chances. He states the amount of his fortune, of his salary as +architect of St. Peter's, and of the payments that are to be made to +him for "work in hand." And in the same way he refers to an +"advantageous match" proposed to him by Cardinal Bibbiani, to which he +has already pledged himself, but should it fall to the ground, "I will +fall in with your wishes"--a reference apparently to an eligible +matrimonial candidate in Urbino. Nor are there chances lacking in Rome, +where, indeed, he knows of a pretty girl with a dowry of 3000 gold +crowns! He also mentions with no little pride that he is living in Rome +in his own house. + +These remarks about his matrimonial schemes take us to one of the most +interesting and most disputed chapters of Raphael's life--his irregular +attachment to the "Bella Fornarina," the beautiful daughter of a baker +from Siena, which is referred to first by Vasari, and then, in 1665, by +Fabio Chigi, and has been treated as mere invention by many modern +writers. The evidence collected by Signor Rodolfo Lanciani proves, +however, the truth of Vasari's story, and furthermore establishes the +name and ultimate fate of the "Fornarina." According to local +tradition, three houses in Rome are pointed out as the successive +homes of Raphael's _inamorata_; and each of these houses is in close +proximity to the buildings, on the decoration of which the master was +successively employed. The first of these houses in the Via di Sta. +Dorotea is still occupied by a bakery known as "il forno della +Fornarina;" the second is in the Vicolo del Cedro near St. Egidio in +Trastevere; and the third is the Palazzetto Sassi, which has a tablet +let into the wall with an inscription to the effect that "Tradition +says that the one who became so dear to Raphael, and whom he raised to +fame, lived in this house." + +It has now been ascertained from a census return made under Leo X. in +1518, that one of the houses of the Sassi family was occupied by the +baker Francesco from Siena, which completely tallies with the tradition +that "Margherita, donna di Raffaello," as she is described in a +contemporary marginal note in a copy of the Giunta edition of Vasari +in 1568, was the daughter of a baker from Siena. But even more decisive +is the proof which was found in 1897 in an entry in the ledger of the +Congregation of Sant'Apollonia in Trastevere, a kind of home for fallen +and repentant women. This entry, which is under the date of the 18th +August 1520, that is a little over four months after Raphael's death, +runs as follows: "A di 18 Augusti 1520 Hoggi e stata recenta nel nostro +Conservatorio ma^a Margarita vedoa, figliola del quondam Francescho +Luti da Siena." ("August 18, 1520.--To-day has been received into our +establishment the widow _Margarita, daughter of the late Francesco Luti +of Siena_.") The remarkable coincidence of dates and names leaves no +doubt that this "widow" was the Bella Fornarina, Margherita, the +daughter of the baker Francesco from Siena, and the beautiful creature +who served Raphael as model for the "Donna Velata," for the "Sistine +Madonna," and for one of the heads in the "St. Cecilia." + +The story goes that Raphael's attachment lasted up to the time of his +death, when, on the insistence of the Pope's messenger who was to bring +the dying man the benediction, she was removed from the room. Vasari +also relates that in his will Raphael "left her a sufficient provision +wherewith she might live in decency." His long infatuation with the +baker's daughter may well account for his unwillingness to enter into +the bonds of matrimony even with as desirable and noble a partner as +Cardinal Bernardo Divizio's niece, Maria Bibbiena, to whom he was +practically engaged in 1514, and who after years of postponement is +said to have died of a broken heart. Vasari's statement that Raphael's +hesitation was due to the prospect of a cardinal's hat being bestowed +upon him is utterly untrustworthy and contrary to all precedent and +reason. It is much more likely that Raphael considered it diplomatic to +humour a man in as powerful a position as Cardinal Bibbiena, and to +agree to become engaged to his niece, even though his own position at +the time was such that he could speak on terms of equality to +cardinals, as may be gathered from this witty repartee recorded by his +friend Baldassare Castiglione: Two cardinals, who examined a painting +upon which he was just engaged, found fault with the redness of the +complexion of St. Peter and St. Paul. "My Lords," retorted Raphael, "be +not concerned; because I painted them so with full intention, since we +have reason to believe that St. Peter and St. Paul are as red in Heaven +as you see them here, for shame that their Church should be governed by +such as you!" + +But we must return to Raphael's work in the last decade of his life. +He could now no longer devote himself entirely to the art of his +choice, and found it utterly impossible to cope with the multitude of +commissions that were showered upon him by the mighty of this earth, +even though a swarm of assistants were constantly kept at work. The +vain appeals of Isabella d'Este for a small painting from his hand +prove the difficulty of obtaining such a favour. For Raphael was now +the Pope's architect and superintendent of ceremonies, and in 1515 he +was appointed inspector of antiquities in succession to Fra Giocondo of +Verona. He had to paint scenery and to design medals and plans; and on +one occasion he was actually called upon to paint a life-size elephant +on the walls of the Vatican! + +[Illustration: PLATE VIII.--PORTRAIT OF RAPHAEL + +(In the Uffizi Gallery, Florence) + +Though much "restored" and over-painted--and not by the most competent +hands--the portrait of Raphael in the _Sala dei Pittori_ at the Uffizi, +the Walhalla of pictorial fame, is undoubtedly painted by the master +himself, at the age of about twenty-three, when his features had lost +none of the almost girlish charm and delicacy of which we are told by +contemporary writers. In time the portrait stands midway between +Timoteo Viti's charming drawing of his "apprentice," the boy Raphael, +at the Oxford University Galleries, and Sebastiano del Piombo's +portrait of the "Prince of Painters" at the Buda-Pesth Museum.] + +Yet, with all these absorbing occupations he found time to model +several reliefs for the Chigi tomb in the Chigi Chapel of St. Maria +del Popolo, notably a panel of classic design representing "Christ and +the Woman of Samaria," which was cast in bronze by Lorenzotto, who also +executed in marble a statue of Jonah from a model by Raphael. He +furnished the architectural designs of the Villa Madama for Giulio dei +Medici (afterwards Clement VII.) and several other palaces in Rome, and +also for the dainty Palazzo Pandolfini in Florence, where the +alternating arched and triangular pediments are for the first time +introduced in secular Renaissance architecture. He furnished the +engraver Marcantonio Raimondi of Bologna with designs like the famous +"Judgment of Paris." He planned and began an elaborate Cosmography of +Rome; and yet in the midst of all his varied labours he found leisure +to scribble some ardent love sonnets on his sheets of drawings. An +example of his poetic effusions is preserved at the British Museum, +and its ardent tone lends colour to Vasari's assertion that Raphael was +extremely susceptible to the charms of the fair sex. The palace in +which he lived in princely state was built by Bramante and bought by +Raphael on October 7, 1517. In very much altered form it still stands +in the Piazza di Scossacavalli at the corner of the Via di Borgo Nuovo. +Since the present building has been identified as Raphael's palace, his +studio has been discovered, cut into two apartments, but with a +beautiful wooden ceiling by Bramante left intact. + +In this studio he must have painted the greatest and most deservedly +popular of his altar-pieces, the "Madonna di San Sisto," and the +"Transfiguration," now at the Vatican Gallery, which was on his easel +when death stayed his hand. Here, too, he probably painted that +masterly portrait of "Baldassare Castiglione," which is one of the +priceless treasures of the Louvre, and perhaps the magnificent group of +"Leo X. with Cardinals Giulio dei Medici and L. dei Rossi," now at the +Pitti Palace. All the most notable men who were in Rome at that period +passed through Raphael's studio, but of the portraits which he is known +to have painted in Rome, comparatively few have come down to us. That +of the humanist Tommaso Inghirami was until recently at the Inghirami +Palace in Volterra, but has now gone across the Atlantic; one of +Cardinal Bibbiena is in Madrid; and one of the Venetian humanists +Navagero and Beazzano in the Doria Palace in Rome. Among the lost +portraits are those of Pietro Bembo, of Giuliano dei Medici, Duke of +Nemours, of Federigo Gonzaga, and of Lorenzo, Duke of Urbino. + +Meanwhile Raphael's pupils had been busy with the decoration of the +remaining two _Stanze_ of the Vatican after Raphael's designs. In the +Stanza dell'Incendio del Borgo, which was decorated for Leo. X. between +1514-1517, Giulio Romano had painted the "Battle of Ostia" and most of +the "Incendio del Borgo," though parts of the latter, which illustrates +the staying of the great conflagration by Leo IV.'s prayer, are +unquestionably Raphael's own. The last room, called the Hall of +Constantine, was almost entirely painted after the master's death by +his pupils, who also had the chief share in the execution of the +fifty-two scriptural subjects in the Loggia of the Vatican, which are +known as "The Bible of Raphael." Most of this work was done by Perino +del Vaga, while Giovanni da Udine added the arabesques and grotesques +round the panels. But all this has suffered much from exposure to the +elements, and has been entirely repainted. + +For Agostino Chigi's Villa Farnesina, Raphael painted the beautiful +"Galatea" fresco, which may be considered the supreme expression of the +spirit of the Renaissance. This merchant prince gave the master another +opportunity for displaying his decorative skill, when he employed him +in adorning the Chigi Chapel in St. Maria della Pace. The Sibyls and +Angels of these frescoes afford the most striking instance of +Michelangelo's influence upon Raphael; and it is a curious coincidence +that it was just in reference to this work that Michelangelo was called +upon to express his opinion as to the fairness of Raphael's charge of +500 ducats. That small jealousy was not one of Buonarroti's faults +appears from the generous valuation of 900 ducats he put upon his +rival's work. + +In 1515-1516 Raphael designed the cartoons for the tapestries which +were to complete the decoration of the Sistine Chapel. The cartoons +were translated into the material by the looms of Flanders at a cost +of 34,000 scudi; and these tapestries are now, after many wanderings, +and after having suffered much dilapidation, housed on the upper floor +of the Vatican. Seven of the cartoons, cut into strips for the +exigencies of the loom, were discovered in Flanders by Rubens, and +purchased on his advice by Charles I. in 1630. On the breaking up of +the ill-fated king's collection, they were saved from transportation by +Oliver Cromwell and are now at the Victoria and Albert Museum. The +execution of these cartoons is almost entirely due to Gian Francesco +Penni, and the borders of the tapestries were designed by Giovanni da +Usline. About 1516 Raphael also decorated Cardinal Bibbiena's bathroom +with the "Triumphs of Venus and Cupid," in Pompeian style. The frescoes +are still in existence, but are not accessible to the public. + +In the early days of April 1520 Raphael was attacked by a fever which +he had probably contracted in superintending some excavations. He made +his last will on the 4th of April and died on the 6th. That he repented +of his treatment of Maria Bibbiena is fairly evident from the epitaph +which, by his wish, was placed upon her tomb: "We, Baldassare Turini da +Pescia and Gianbattista Branconi dall'Aquila, testamentary executors +and recipients of the last wishes of Raphael, have raised this memorial +to his affianced wife, Maria, daughter of Antonio da Bibbiena, whom +death deprived of a happy marriage." After providing for the Fornarina, +so that she might "live in decency," he left his fortune of 16,000 +ducats to his relatives, and his drawings and sketches to his favourite +pupils Giulio Romano and Penni. He was buried in the Pantheon in close +proximity to Maria Bibbiena. His epitaph was written by Cardinal Bembo, +and Count Baldassare Castiglione also put his grief into the shape of +a beautiful sonnet. + +"The death of Raphael," says Vasari, "was bitterly deplored by all the +Papal court, not only because he had formed part thereof, since he had +held the office of chamberlain to the Pontiff, but also because Leo X. +had esteemed him so highly, that his loss occasioned that sovereign the +bitterest grief. Oh, most happy and thrice blessed spirit, of whom all +are proud to speak, whose actions are celebrated with praise by all +men, and the least of whose works left behind thee is admired and +prized." + + +The plates are printed by BEMROSE & SONS, LTD., Derby and London + +The text at the BALLANTYNE PRESS, Edinburgh + + + + +Transcriber's note: + +Italics is represented with underscore _ and small caps with ALL CAPS. +Illustrations were moved to paragraph breaks, one missing opening +quotation mark was added and ambiguous hyphens at the ends of lines +were retained. The abbreviation "nro" has been expanded to "nostro", +the caret character ^ used to represent superscripted letters. +Everything else has been retained as printed. + + + + + +End of the Project Gutenberg EBook of Raphael, by Paul G. Konody + +*** END OF THE PROJECT GUTENBERG EBOOK 44033 *** |