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diff --git a/44033-8.txt b/44033-8.txt deleted file mode 100644 index a4eaedd..0000000 --- a/44033-8.txt +++ /dev/null @@ -1,1439 +0,0 @@ -The Project Gutenberg EBook of Raphael, by Paul G. Konody - -This eBook is for the use of anyone anywhere at no cost and with -almost no restrictions whatsoever. You may copy it, give it away or -re-use it under the terms of the Project Gutenberg License included -with this eBook or online at www.gutenberg.org/license - - -Title: Raphael - -Author: Paul G. Konody - -Editor: T. Leman Hare - -Release Date: October 25, 2013 [EBook #44033] - -Language: English - -Character set encoding: ISO-8859-1 - -*** START OF THIS PROJECT GUTENBERG EBOOK RAPHAEL *** - - - - -Produced by Sandra Eder, sp1nd and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images generously made available by The -Internet Archive) - - - - - - - - - - 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. 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