THE GREAT WORKS OF RAPHAEL. 
 
Digitized by the Internet Archive 
 in 2018 with funding from 
 Getty Research Institute 
 
 https://archive.org/details/greatworksofraphOOraph 
 
THE GREAT WORKS OF 
 
 RAPHAEL SANZIO OF URBINO; 
 
 A SERIES OF TWENTY PHOTOGRAPHS FROM 
 THE BEST ENGRAVINGS OF HIS MOST 
 CELEBRATED PAINTINGS; 
 
 WITH THE LIFE WRITTEN BY GIORGIO VASARI, TRANSLATED, WITH NOTES 
 AND ILLUSTRATIONS, BY MRS. JONATHAN FOSTER. 
 
 AND AN APPENDIX CONTAINING A COMPLETE LIST OF THE AUTHENTICATED 
 WORKS OF RAPHAEL, TRANSLATED FROM PASSAVANT’s 
 “ RAFAEL VON URBINO UND SEIN VATER.” 
 
 LONDON: 
 
 BELL AND DALDY, 186, FLEET STREET. 
 
 CUNDALL AND FLEMING, 168, NEW BOND STREET. 
 
 1866. 
 
PREFACE. 
 
 HE world never tires of its best work. For 
 more than three centuries the paintings of 
 Raphael have been the admiration of man¬ 
 kind ; they have been reproduced in every 
 country and in every variety of style, and 
 they are ever welcome. The famous engravings from his 
 most celebrated works, by Raphael Morghen, Longhi, Des- 
 noyers, Garavaglia, Muller, Toschi, and other eminent men, 
 delighted connoisseurs for many years, and are reckoned 
 among the foremost achievements of the engraver’s art; but 
 now they have become very rare, and can only be seen in 
 the portfolios of the wealthy. Luckily for all lovers of art 
 a new aid has lately sprung up which offers the present 
 generation wonderful advantages. The marvellous power of 
 Photography has never been more beautifully shown than 
 in the reproduction of these magnificent engravings. Line 
 
vi Preface . 
 
 for line the miniature copy reproduces the work of the 
 original; and though the grandeur and brilliancy of the first 
 proofs cannot be obtained, a delicate and most thoroughly 
 accurate transcript is secured, which charms and satisfies the 
 most critical eye. 
 
 The Editor of the present work has chosen twenty of the 
 most justly celebrated of Raphael’s works to illustrate the 
 present volume, and hopes that in their new form they will 
 be admired and loved as much as they have ever been. 
 
LIST OF PHOTOGRAPHS. 
 
 HE Marriage of the Virgin ( Lo Sposalizio .) In the Brera, 
 at Milan. From the engraving by Longhi. Page 6. 
 2. The Madonna with the Goldfinch ( del Cardellino .) 
 In the Florence Gallery. From the engraving by 
 Raphael Morghen. Page 8. 
 
 3. The Holy Family, with the Palm-Tree. In the Bridgewater 
 
 Gallery. From the engraving by Martinet. Page 10. 
 
 4. Saint Catherine of Alexandria. In the National Gallery. From 
 
 the engraving by Desnoyers. Page 12. 
 
 5. The Entombment. In the Borghese Palace, at Rome. From the 
 
 engraving by Amsler. Page 14. 
 
 6. La Belle Jardiniere. In the Louvre. From the engraving by 
 
 Desnoyers. Page 16. 
 
 7. The School of Athens. In the Chamber of the u Segnatura” in the 
 
 Vatican. From the engraving by Volpato. Page 18. 
 
 8. The Madonna, della Casa d,' Alba. Now in the Hermitage at St. 
 
 Petersburgh. From the engraving by Desnoyers. Page 22, 
 
 9. The Madonna, Aldobrandini. ( Lord Garvagb’s.) Now in the 
 
 National Gallery. From the engraving by Bridoux. Page 24. 
 
 10. The Madonna with the Diadem, (au linge.) In the Louvre. From 
 
 the engraving by Desnoyers. Page 28. 
 
 11. The Madonna, di Fuligno. In the Vatican, at Rome. From the 
 
 engraving by Desnoyers. Page 30. 
 
 12. The Madonna, del Pesce (au poisson .) In the Escurial, Madrid. 
 
 From the engraving by Desnoyers. Page 38. 
 
viii List of Photographs. 
 
 13. Christ’s Charge to Peter, [Feed my Sheep.) Now in the Raphael 
 
 Gallery, at the South Kensington Museum, From the Cartoon. P. 60. 
 
 14. The Madonna, della Sedia. In the Pitti Palace, Florence. From the 
 
 engraving by Garavaglia. Page 40. 
 
 15. The Madonna, della Tenda. In the Munich Museum. From the 
 
 engraving by Toschi. Page 44. 
 
 16. Christ Bearing His Cross, (Lo Spasimo di Sicilia.) In the Madrid 
 
 Museum. From the engraving by Toschi. Page 48. 
 
 17. The Madonna, del Passeggio. In the Bridgewater Gallery. From 
 
 the engraving by Anderloni. Page 50. 
 
 18. The Holy Family, the Pearl . In the Madrid Museum. From the 
 
 engraving by Lecomte. Page 54. 
 
 19. The Madonna, di San Sisto. In the Dresden Gallery. From the 
 
 engraving by Muller. Page 56. 
 
 20. The Transfiguration. In the Vatican, at Rome. From the en¬ 
 
 graving by Raphael Morghen. Page 62. 
 
 Photographed by Cundall and Fleming . 
 
LIFE OF THE FLORENTINE PAINTER AND 
 ARCHITECT, RAPHAEL SANZIO 
 OF URBINO. 
 
 HE large and liberal hand wherewith Heaven 
 is sometimes pleased to accumulate the infinite 
 riches of its treasures on the head of one sole 
 favourite,—showering on him all those rare gifts 
 and graces which are more commonly distributed 
 among a larger number of individuals, and accorded 
 at long intervals of time only,—has been clearly exemplified in the 
 well-known instance of Raphael Sanzio of Urbino. 
 
 No less excellent than graceful, he was endowed by nature with 
 all that modesty and goodness which may occasionally be perceived 
 in those few favoured persons who enhance the gracious sweetness of 
 a disposition more than usually gentle, by the fair ornament of a 
 winning amenity, always ready to conciliate, and constantly giving 
 evidence of the most refined consideration for all persons and under 
 every circumstance. The world received the gift of this artist from 
 the hand of nature when, vanquished by art in the person of 
 Michael Angelo, she deigned to be subjugated in that of Raphael, 
 not by art only but by goodness also. And of a truth, since the 
 
 B 
 
2 
 
 Life of Raphael Sanzio. 
 
 greater number of artists had up to that period derived from nature 
 a certain rudeness and eccentricity which not only rendered them 
 uncouth and fantastic, but often caused the shadows and darkness 
 of vice to be more conspicuous in their lives than the light and 
 splendour of those virtues by which man is rendered immortal; so 
 was there good cause wherefore she should, on the contrary, make 
 all the rarest qualities of the heart to shine resplendently in her 
 Raphael, perfecting them by so much diffidence, grace, application 
 to study, and excellence of life, that these alone would have sufficed 
 to veil or neutralize every fault, however important, and to efface 
 all defects, however glaring they might have been. Truly may we 
 affirm that those who are the possessors of endowments so rich and 
 varied as were assembled in the person of Raphael, are scarcely to be 
 called simple men only, they are rather, if it be permitted so to speak, 
 entitled to the appellation of mortal gods; and further are we 
 authorized to declare, that he who by means of his works has left 
 an honoured name in the records of fame here below, may also hope 
 to enjoy such rewards in heaven as are commensurate to and worthy 
 of their labours and merits. 
 
 Raphael was born at Urbino, a most renowned city of Italy, on 
 Good Friday 1 of the year 1483, at three o'clock of the night. 2 His 
 father was a certain Giovanni Sanzio, a painter of no great eminence 
 in his art, 3 but a man of sufficient intelligence, nevertheless, and per- 
 
 1 On the 28th of March, according to the Julian Calendar, but by the Astronomical 
 Tables, on the 26th. Longhena, Istoria, &c. di Raffaello Sanzio del Sig. Quatremere 
 de Quincy. Milan, 1829. 
 
 2 About nine in the evening at this season of the year, the Italians commencing the 
 enumeration of the hours at one hour after sunset. 
 
 3 As compared with his son, that is to say ; but on comparing the works of Giovanni 
 with those of the masters his contemporaries, he will be seen to have been rather a good 
 than a merely tolerable painter. Paintings from his hand are still to be seen at Urbino, 
 
3 
 
 Life of Raphael Sanzio. 
 
 fectly competent to direct his children into that good way which 
 had not for his misfortune been laid open to himself in his younger 
 days. And first, as he knew how important it is that a child should 
 be nourished by the milk of its own mother, and not by that of 
 the hired nurse, * 1 so he determined when his son Raphael (to whom 
 he gave that name at his baptism, as being one of good augury) 
 was born to him, that the mother of the child, 2 he having no other, 
 as indeed he never had more, 3 should herself be the nurse of the child. 
 Giovanni further desired that in its tender years the boy should 
 rather be brought up to the habits of his own family, and beneath his 
 paternal roof, than be sent where he must acquire habits and manners 
 less refined, and modes of thought less commendable, in the houses 
 of the peasantry, or other untaught persons. 4 As the child became 
 older, Giovanni began to instruct him in the first principles of painting, 
 
 as well as in Fano, Pesaro, Montefiore, Gradara, and Cagli, with some others in the 
 Brera (Milan). See Passavant, Rafael von Urbino und sein Vater Giovanni Santi . 
 Leipzig, 1839, v °h h S ee also the Appendix to that work. 
 
 1 The pertinence of this remark will be more obvious if we remember that, while 
 in our own country the practice of employing hired nurses is comparatively rare, and is 
 usually confined to cases of strict necessity, on the continent, but more especially in 
 France, it is, on the contrary, the almost invariable practice of matrons in all ranks to 
 confide their infants to the care of the hireling. 
 
 2 The mother of Raphael was Magia, daughter of Giovanni-Battista Ciarla; she 
 died in 1491, when Giovanni Sanzio married Bernardina, daughter of the gold- 
 worker, Pietro di Parte; this woman is said by some writers to have caused Raphael 
 much vexation at a later period, and after his father’s death; by others she is affirmed, 
 on the contrary, to have been at all times among his best friends.—See Passavant, tit supra. 
 See also Longhena, Istoria, tfc, di Rafaello Sanzio del Sig . Quatremere de Quincy. 
 Milan, 1829. 
 
 3 When Raphael was born, Giovanni Sanzio had already one son, but this child died 
 in 1485. He had afterwards one, or, as some authors say, two daughters. 
 
 4 We have numerous testimonies to the fact that Giovanni was a man of refined 
 habits and highly cultivated mind. See, among other writers, Pungileoni, Elogio Storico 
 di Giovanni Santi Pittore e Poeta , &c. Urbino, 1822. 
 
4 
 
 Life of Raphael Sanzio. 
 
 perceiving that he was much inclined to that art and finding him 
 to be endowed with a most admirable genius; few years had passed 
 therefore before Raphael, though still but a child, became a valuable 
 assistant to his father in the numerous works which the latter executed 
 in the State of Urbino. 1 
 
 At length this good and affectionate parent, knowing that his son 
 would acquire but little of his art from himself, resolved to place 
 him with Pietro Perugino, 2 who, according to what Giovanni had 
 been told, was then considered to hold the first place among the 
 painters of the time. Wherefore, proceeding to Perugia for that 
 purpose, and finding Pietro to be absent fronr the city, he occupied 
 himself, to the end that he might await the return of the master 
 with the less inconvenience, in the execution of certain works for 
 the Church of San Francesco 3 in that place. But when Pietro had 
 returned to Perugia, Giovanni, who was a person of very good 
 manners and pleasing deportment, 4 soon formed an amicable acquain- 
 
 1 Since Giovanni died in 1494, when Raphael was but eleven years old, the latter 
 could not have assisted his father in any but the most unimportant labours of their voca¬ 
 tion, unless indeed we are to suppose in him an instance of that precocity of genius which 
 is exemplified in Mozart and some few others, whose powers have been developed in 
 their earliest youth, but who have for the most part become exhausted before the 
 attainment of more than half the common age of man.— Schorn, 
 
 8 The best authorities affirm that Raphael received his first instructions from Luca 
 Signorelli and Timoteo Viti, who were at that time in Urbino; they add that he was 
 placed with Perugino by the care of his uncle Simone Ciarla, and that of his guardian, 
 Don Bartolommeo. 
 
 3 It cannot now be ascertained that there has ever been any work in Perugia by 
 Giovanni Sanzio, nor is the visit to Perugia here described authenticated by any known 
 documents. 
 
 4 Many writers concur to prove that Giovanni Sanzio was, as we have said, a man 
 of gentle disposition, refined habits, and pleasing manners; he was also a follower of the 
 muses, and composed “ a work not without merit,” observes an Italian commentator, 
 “ to the praise of the Count and Duke of Urbino.” Dr. Gaye has likewise made 
 mention of a Chronicle in Rhyme, by Giovanni Sanzio. See the Kunstblatt i or 1836 
 No. 86. 
 
Life of Raphael Sanzio . 5 
 
 tanceship with him, and when the proper opportunity arrived, made 
 known to him the desire he had conceived, in the most suitable 
 manner that he could devise. Thereupon Pietro, who was also 
 exceedingly courteous, as well as a lover of fine genius, agreed to 
 accept the care of Raphael; Giovanni then returned to Urbino; and 
 having taken the boy, though not without many tears from his mother, 
 who loved him tenderly, he conducted him to Perugia; when Pietro 
 no sooner beheld his manner of drawing, and observed the pleasing 
 deportment of the youth, than he conceived that opinion of him which 
 was in due time so amply confirmed by the results produced in the 
 after life of Raphael. 1 
 
 It is a well-known fact that while studying the manner of Pietro, 
 Raphael imitated it so exactly at all points, that his copies cannot 
 be distinguished from the original works of the master, 2 nor can the 
 difference between the performances of Raphael and those of Pietro 
 be discerned with any certainty. This is proved clearly by certain 
 figures still to be seen in Perugia, and which the former executed in 
 a picture painted in oil in the Church of San Francesco, for Madonna 
 Maddalena degl’ Oddi. 3 The subject of this work is the Assumption 
 of the Virgin, and the figures here alluded to are those of Our Lady 
 and of the Saviour himself, who is in the act of crowning her; 
 beneath them and around the tomb are the Apostles, who contem¬ 
 plate the celestial glory, and at the foot of the painting, in a predella 
 divided into three stories, is the Virgin receiving the Annunciation 
 
 1 For this portion of Raphael’s life, and for details respecting his fellow students, see 
 Passavant, Rafael von Urbino , &c. lib. lv. 
 
 2 Minute details respecting the earliest works of Raphael in Perugia will be found 
 in Passavant, ut supra . 
 
 3 This picture was among those transported to Paris, but when restored to Italy was 
 “not replaced in Perugia, but taken possession of by Rome,” observes a justly dissatisfied 
 native of the former city. 
 
6 
 
 Life of Raphael Sanzio. 
 
 from the Angel, the Adoration of the Magi, and the Infant Christ in 
 the Temple, with Simeon, who receives the Divine Child into his 
 arms. This painting is without doubt executed with extraordinary- 
 diligence, and all who have not a thorough knowledge of the manner 
 of Pietro will assuredly take it to be a work of that master, whereas 
 it is most certainly by the hand of Raphael. 1 
 
 After the completion of this picture, Pietro repaired for certain of 
 his occasions to Florence, when Raphael departed from Perugia and 
 proceeded with several of his friends to Citta di Castello, where 
 he painted a picture, in the same manner, for the church of Sant’ 
 Agostino, with one representing the crucified Saviour for that of San 
 Domenico ; which last, if it were not for the name of Raphael written 
 upon it, would be supposed by every one to be a work of Pietro 
 Perugino. 2 For the church of San Francesco in the same city he 
 painted a small picture representing the espousals of Our Lady, and 
 in this work the progress of excellence may be distinctly traced in the 
 manner of Raphael, which is here much refined, and greatly surpasses 
 that of Pietro. 3 In the painting here in question, there is a church 
 drawn in perspective with so much care that one cannot but feel 
 amazed at the difficulty of the problem which the artist has set himself 
 to solve. 
 
 While Raphael was thus acquiring the greatest fame by the pur¬ 
 suit of this manner, the painting of the library belonging to the 
 
 1 Now in the Vatican. 
 
 2 The picture painted for Sant* Agostino represented the coronation of St. Nicholas 
 of Tolentino, who tramples the figure of Lucifer beneath his feet, while the Almighty 
 Father is seen in the heavens above. This work was lost amidst the disorders of the 
 French domination, in the first years of the present century. The Crucifix was formerly 
 in the collection of Cardinal Fesch. 
 
 3 This is the celebrated picture of the “ Sposalizio,” now in the Brera. 
 
The Marriage of the Virgin. 
 
 IN THE BRERA, MILAN. 
 
7 
 
 Life of Raphael Sanzio. 
 
 Cathedral of Siena had been entrusted by Pope Pius III. 1 to Benar- 
 dino Pinturicchio, who was a friend of Raphael’s, and, knowing him 
 to be an excellent designer, took the latter with him to Siena. Here 
 Raphael made Pinturicchio certain of the designs and cartoons for that 
 work ; 2 nor would the young artist have failed to continue there, but 
 for the reports which had reached him concerning Leonardo da Vinci, 
 of whose merits he heard many painters of Siena speak in terms of 
 the highest praise. They more especially celebrated the cartoon which 
 Leonardo had prepared in the Sala del Papa at Florence, for a most 
 beautiful group of horses which was to be executed for the Great Hall 
 of the Palace. They likewise mentioned another cartoon, represent¬ 
 ing nude figures, and made by Michael Angelo Buonarroti, in com¬ 
 petition with Leonardo, whom he had on that occasion greatly 
 surpassed. These discourses awakened in Raphael so ardent a desire 
 to behold the works thus commended, that, moved by the love he 
 ever bore to excellence in art, and setting aside all thought of his own 
 interest or convenience, he at once proceeded to Florence. 3 
 
 Arrived in that place, he found the city please him equally with 
 the works he had come to see, although the latter appeared to him 
 divine; he therefore determined to remain there for some time, and 
 
 1 Then Cardinal Francesco Piccolomini, who afterwards became Pope Pius III. 
 
 2 It will be found that in the life of Pinturicchio, Vasari attributes to Raphael all the 
 designs and cartoons for this work. 
 
 3 The first visit of Raphael to Florence took place in 1504, as we learn from a 
 letter bearing date 1st October in that year, from Giovanna, Duchess of Sora, sister of the 
 Duke of Urbino, to Piero Soderini, who was then Gonfaloniere of the Florentine Re¬ 
 public, which Raphael took with him, and wherein she calls the painter himself “ a 
 discreet and amiable youth.” The cartoons prepared by Leonardo da Vinci and 
 Michael Angelo, in competition with each other, were not completed till the year 1506. 
 See, for more minute details respecting this period of the life of Raphael, Longhena, 
 Istoria della Vita , &c, Munich, 1824 ; Rehberg, Rafael Sanzio ; Platner and Bunsen, 
 Beschreibung der Stadt Rom ; Passavant, Pungileoni, and others. 
 
8 
 
 Life of Raphael Sanzio. 
 
 soon formed a friendly intimacy with several young painters, among 
 whom were Ridolfo Ghirlandajo, Aristotele San Gallo, and others. 
 He was, indeed, much esteemed in that city, but above all by Taddeo 
 Taddei, 1 who, being a great admirer of distinguished talent, desired 
 to have him always in his house and at his table. Thereupon Raphael, 
 who was kindliness itself, that he might not be surpassed in generosity 
 and courtesy, painted two pictures for Taddeo, wherein there are traces 
 of his first manner, derived from Pietro, and also of that much better 
 one which he acquired at a later period by study, as will be related 
 hereafter. These pictures are still carefully preserved by the heirs 
 of the above-named Taddeo. 2 Raphael also formed a close friend¬ 
 ship with Lorenzo Nasi; and the latter, having taken a wife at 
 that time, Raphael painted a picture for him, wherein he represented 
 Our Lady with the Infant Christ, to whom San Giovanni, also a child, 
 is joyously offering a bird, which is causing infinite delight and glad¬ 
 ness to both the children. In the attitude of each there is a childlike 
 simplicity of the utmost loveliness : they are besides so admirably 
 coloured, and finished with so much care, that they seem more like 
 living beings than mere paintings. Equally good is the figure of the 
 Madonna: it has an air of singular grace and even divinity, while all 
 the rest of the work—the foreground, the surrounding landscape, and 
 every other particular, are exceedingly beautiful. 3 This picture was 
 
 1 What Vasari here relates must have taken place at a subsequent period, perhaps on 
 the occasion of Raphael’s second, or, as some say, third visit, when he remained in 
 Florence from 1506 to 1508, and may then have seen the Cartoons of Leonardo and 
 Michael Angelo. 
 
 2 They were both pictures of the Madonna, one is in the gallery of the Belvidere, at 
 Vienna; the other, which represents the whole of the Holy Family, is in the Bridgewater 
 collection. 
 
 3 Our readers will remember that this is among the most admired works now adorn¬ 
 ing the Tribune of the Florentine Gallery. 
 

 
 
 
 
 
 
The Madonna with the Goldfinch. 
 
 IN THE FLORENCE GALLERY, 
 
 UN 
 
9 
 
 Life of Raphael Sanzio . 
 
 held in the highest estimation by Lorenzo Nasi so long as he lived, 
 not only because it was a memorial of Raphael, who had been so 
 much his friend, but on account of the dignity and excellence of the 
 whole composition : but on the 9th of August, in the year 1548, the 
 work was destroyed by the sinking down of the hill of San Giorgio ; 
 when the house of Lorenzo was overwhelmed by the fallen masses, 
 together with the beautiful and richly decorated dwelling of the heirs 
 of Marco del Nero, and many other buildings. It is true that the 
 fragments of the picture were found among the ruins of the house, 
 and were put together in the best manner that he could contrive, by 
 Batista the son of Lorenzo, who was a great lover of art. 
 
 After having completed these works, Raphael was himself com¬ 
 pelled to leave Florence and repair to Urbino, where his mother and 
 Giovanni his father having both died, his affairs were in much con¬ 
 fusion. 1 While thus abiding in Urbino, he painted two pictures of 
 the Madonna for Guidobaldo of Montefeltro, who was then Captain- 
 general of the Florentines; these pictures are both small, but are 
 exceedingly beautiful examples of Raphael’s second manner; they are 
 now in the possession of the most illustrious and most excellent 
 Guidobaldo, Duke of Urbino. 2 For the same noble, the master 
 executed another small picture, representing Christ praying in the 
 garden, with three of the Apostles, who are sleeping at some distance, 3 
 and which is so beautifully painted that it could scarcely be either 
 
 1 For various details respecting this period of Raphael's life, see Passavant, Rafael 
 von Urbino und sein Vater , &c. 
 
 2 The authorities in this question are inclined to believe that one of these pictures 
 is now in the Imperial Gallery of St. Petersburg; the other is said to be in England. 
 Leclanche suggests that these may be the Madonnas engraved by Crozat. 
 
 3 This work, which belongs to those executed in the early manner of the master, 
 is now in Rome, in the possession of the Prince Gabrielli.— Passavant. 
 
 C 
 
io Life of Raphael Sanzio. 
 
 better or otherwise were it even in miniature. After having been long 
 in the possession of Francesco Maria, Duke of Urbino, this picture 
 was presented by the most illustrious lady, his consort, the Duchess 
 Leonora, to the Venetians, Don Paolo Giustiniano and Don Pietro 
 Quirini, brothers of the Holy Hermitage of Camaldoli, and was 
 placed by them, like a relic or sacred thing, in the apartments of the 
 principal of that Hermitage, where it remains, honoured both as a 
 memorial of that illustrious lady and as being from the hand of 
 Raphael of Urbino. 
 
 Having completed these works and arranged his affairs, Raphael 
 returned to Perugia, where he painted a picture of Our Lady with 
 San Giovanni Battista and San Niccolo, for the Chapel of the Ansidei 
 Family, in the Church of the Servites: 1 and at the Monastery of 
 San Severo, a small Convent of the Order of Camaldoli, in the same 
 city, he painted a fresco for the Chapel of Our Lady. The subject 
 of this work is Christ in Glory, with God the Father, surrounded by 
 Angels, and six figures of Saints seated, three on each side: San 
 Benedetto, San Romualdo, and San Lorenzo, on the one side namely ; 
 with San Girolamo, San Mauro, and San Placido, on the other. 
 Beneath this picture, which, for a work in fresco, was then considered 
 very beautiful, Raphael wrote his name in large and clearly legible 
 letters. 2 In the same city Raphael was commissioned to paint a 
 picture of Our Lady by the nuns of Sant’ Antonio of Padua; the 
 
 1 Now in the possession of the Duke of Marlborough at Blenheim: it bears the 
 date 1505; on the Predella is the preaching of John the Baptist, but this part of the 
 work is or was in the collection of Lord Lansdowne. 
 
 2 Having suffered much injury, this fresco was restored some years since by the 
 painter, Giuseppe Carattoli. The upper part only was painted by Raphael, the lower¬ 
 most portion being the work of Perugino. The inscription was not added until after 
 Raphael’s death. See Passavant. 
 

 
 
 
 
 
 
 
 
The Holy Family, with the Palm-Tree. 
 
 IN THE BRIDGEWATER GALLERY 
 
Life of Raphael Sanzio. 11 
 
 Infant Christ is in the lap of the Virgin and is fully clothed, as it 
 pleased those simple and pious ladies that he should be ; on each side 
 of Our Lady are figures of saints, San Pietro namely, with San Paolo, 
 Santa Cecilia, and Santa Catarina. 1 To these two hoiy virgins the 
 master has given the most lovely features and most graceful attitudes ; 
 he has also adorned them with the most fanciful and varied head¬ 
 dresses that could be imagined—a very unusual thing at that time. 
 In a lunette above this picture he painted a figure of the Almighty 
 Father, which is extremely fine, and on the Predella are three scenes 
 from the history of Christ, in very small figures. The first of these 
 represents the Saviour praying in the garden; in the second he is 
 seen bearing the cross, and here the movements and attitudes of certain 
 soldiers who are dragging him along, are singularly beautiful; the 
 third shows him lying dead in the lap of the Madonna. 2 The whole 
 work is without doubt very admirable: it is full of devout feeling, 
 and is held in the utmost veneration by the nuns for whom it was 
 painted. 3 It is very highly commended by all painters ,likewise. 
 
 But I will not omit to mention in this place, that after Raphael 
 had been to Florence, he is known to have much changed and im¬ 
 proved his manner, from having seen the many works by excellent 
 masters to be found in that city^ nay, the manner afterwards adopted 
 by him was so little in common with his earlier one, that the works 
 
 1 An Italian writer calls this figure St. Margaret; the German commentators on the 
 contrary, though equally declaring that it does not represent St. Cecilia, consider it to 
 be intended for St. Rosalie, but the garland of flowers which it bears, and which might 
 seem to imply that this opinion is well-founded, is in fact also worn of right by St. 
 Cecilia, as it is by St. Dorothea, and perhaps, by other saints. This part of the 
 painting is now at Naples, in the Museo Borbonico. 
 
 2 This portion of the work is in England.— Passavant. 
 
 3 But was sold by their successors in the convent for two thousand scudi. 
 
12 Life of Raphael Sanzio. 
 
 executed in the latter might be supposed to be by a different hand, 
 and one much less excellent in the art. 
 
 Before Raphael had left Perugia, he had been requested by Madonna 
 Atalanta Baglioni to paint a picture for her chapel in the church of 
 San Francesco, 1 but as he could not at that time comply with her 
 wishes, he promised that on his return from Florence, whither he was 
 then obliged to proceed for certain affairs, he would not fail to do so. 
 While in Florence, therefore, where he devoted himself with in¬ 
 describable energy and application to the studies connected with his 
 art, he prepared the cartoon for this chapel, with the intention of 
 proceeding to execute it in San Francesco on the first opportunity 
 that might present itself for doing so, a work which he afterwards ac¬ 
 complished. 
 
 While Raphael was thus sojourning in Florence, Agnolo Doni 
 was dwelling in that city ; now Agnolo was averse to spending money 
 for other things, but for paintings or sculptures, in which he greatly 
 delighted, he would willingly pay, although he still did so as frugally 
 as was possible. By him, therefore, Raphael was commissioned to 
 paint a portrait of himself, as well as that of his wife, and both were 
 executed, as we now see them ; they are in the possession of Agnolo’s 
 son, Giovanni Battista, in the house which Agnolo built most 
 handsomely and commodiously, at the corner of the Alberti, in the 
 street of the Dyers, in Florence. 2 
 
 For Domenico Canigiani, Raphael also painted a picture wherein 
 he represented the Madonna with the Infant Christ: the divine Child 
 
 1 (t Vasari is mistaken,” remarks Bottari, €t the church is that of San Bernardino, 
 and not San Francesco .”—Roman Edition of Vasari , 1759. 
 
 2 They were sold by the descendants of Agnolo Doni to Leopold II, Grand Duke 
 of Tuscany, and now make part of the magnificent collection in the Pitti Palace. 
 They are engraved in Longhena. See Passavant. 
 

Saint Catherine of Alexandria. 
 
 IN THE NATIONAL GALLERY. 
 

 
 
 - 
 
 '•.! :L.-.:: .' 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 . 
 
 . 
 
 
 
 
 
1 3 
 
 Life of Raphael Sanzio. 
 
 is caressing the little San Giovanni, who is brought to him by Santa 
 Elizabeth; and the latter, while holding the boy, looks with a most 
 animated countenance at St. Joseph, who stands leaning with both 
 hands on his staff; he bends his head towards her with an expression 
 of astonishment and of praise to God, whose greatness had bestowed 
 this young child on a mother already so far advanced in years. All 
 appear to be amazed at the manner in which the two cousins treat 
 each other at an age so tender, the one evincing his reverence for the 
 Saviour, the other affectionately caressing his companion. Every 
 touch of the pencil in the heads, hands, and feet of this work has pro¬ 
 duced such effect that the parts seem rather to be of the living flesh 
 than the mere colours of the painter, however able a master of his art. 
 This most noble picture is now in the possession of the heirs of 
 Domenico Canigiani, by whom it is held in all that esteem which is 
 due to a work of Raphael of Urbino. 1 
 
 While in the city of Florence, this most excellent painter studied 
 the ancient works of Masaccio, and what he saw in the labours of 
 Leonardo and Michael Angelo caused him still more zealously to 
 prosecute his studies; he consequently attained to an extraordinary 
 amelioration of manner, and made still further progress in art. Among 
 other artists, Raphael formed a close intimacy with Fra Bartolommeo 
 di San Marco, during his abode in Florence, the manner of that master 
 pleasing him greatly, wherefore he took no small pains to imitate his 
 colouring, teaching that good father on his part the rules of perspec¬ 
 tive, to which the monk had not previously given his attention. 
 
 But just when this intercourse was most frequent and intimate. 
 
 1 This work is believed by certain Italian writers to be at Rome, in the possession of 
 the Marchese Rinuccini, but that picture is declared by other authorities to be a copy 
 only, the original being, as they affirm, in the Pinacoteca at Munich. See Passavant. 
 See also Rumohr, Italienische Forschungen , vol. iii. p. 65. 
 
14 Life of Raphael Sanzio. 
 
 Raphael was recalled to Perugia; here the first work which he per¬ 
 formed was that in the church of San Francesco, where he completed 
 the painting promised to the above named Madonna Atalanta Baglioni, 
 for which he had prepared the cartoon in Florence, as we have said. 
 In this most divine picture there is a dead Christ, whom they are 
 bearing to the sepulchre, the body painted with so much care and 
 freshness that it appears to have been only just completed. When 
 occupied with the composition of this work, Raphael had imagined 
 to himself all the grief and pain with which the nearest and most 
 affectionate relatives see borne to the tomb, the corpse of one who 
 has been most dear to them, and on whom has, in truth, depended all 
 the honour and welfare of the entire family. Our Lady is seen to be 
 sinking insensible, and the heads of all the weeping figures are 
 exceedingly graceful; that of San Giovanni more particularly, his 
 hands are clasped together and he bends his head with an expression 
 which cannot but move the hardest heart to compassion. Truly may 
 we say that whoever shall consider the diligence and love, the art and 
 grace exhibited in this work, has good reason to feel astonishment, 
 and it does indeed awaken admiration in all who behold it, not only 
 for the expression of the heads, but for the beauty of the draperies, 
 and in short for the perfection of excellence which it displays in all 
 its parts. 1 
 
 When Raphael, having completed his work, had returned to 
 Florence, he received a commission from the Dei, Florentine citizens, 
 to paint the altar-piece for their chapel in the church of Santo Spirito: 
 this painting the master commenced and made considerable progress 
 
 1 This justly celebrated work was purchased by Pope Paul V, for the Borghese 
 Gallery, where it long remained. The tympan belonging to this picture, representing 
 God the Father, with uplifted hands, is still in the Church of San Francesco, at 
 Perugia. The Predella is in the Vatican.— Passavant. 
 
The Entombment. 
 
 IN THE BORGHESE PALACE, ROME, 
 
1 5 
 
 Life of Raphael Sanzio . 
 
 with the sketch for it, 1 he likewise prepared a picture at the same time 
 which was afterwards sent to Siena, but had first to be left with 
 Ridolfo Ghirlandajo, on the departure of Raphael, to the end that he 
 might finish an azure vestment which was still wanting when Raphael 
 left Florence. 2 And this last event happened from the circumstance 
 that Bramante of Urbino, being in the service of pope Julius II, for 
 some little relationship that he had with Raphael and because they 
 were of the same place, had written to the latter, informing him that 
 he had prevailed with the Pope to entrust certain rooms which the 
 Pontiff had caused to be built in the Vatican to his care, and that 
 therein he might give evidence of his ability. The proposal gratified 
 Raphael, and he left his works in Florence unfinished, the picture for 
 the Dei family among the rest, but this last was in such a state that 
 Messer Baldassare da Pescia afterwards, on the death of Raphael that 
 is to say, caused it to be placed in the chapter-house of his native 
 city. 3 The master then proceeded to Rome, where he found, on his 
 arrival, that a large part of the rooms in the palace had already been 
 
 1 This is the picture called the Madonna del Baldachino , now in the Pitti Palace, 
 and still in its unfinished state, although much restored : the work remained in Pescia 
 until the end of the seventeenth century, when it was purchased at a very high price by 
 the Grand Duke Ferdinand. The restoration was effected by G. A. Cassana. See 
 Passavant, ut supra . 
 
 2 The picture sent to Siena is that called La Belle Jardiniere, purchased by 
 Francis I. of France, and now in the Louvre. For the conflicting opinions respecting 
 the work painted by Ridolfo Ghirlandajo, see Passavant, Waagen, Kunstwerke und 
 Kunstler in Paris, and Rumohr, who agrees with the latter in the belief that the 
 Madonna of the Colonna Palace is that completed by Ridolfo Ghirlandajo. Engraved 
 by Desnoyers. 
 
 3 Pungileoni, Vita di Raffaelo , affirms that Bramante was not related to Raphael, 
 and was but his fellow townsman and acquaintance; other writers suggest that the 
 introduction to Julius II. was most probably effected by the young Duke of Urbino, 
 Francesco Maria della Rovere, to whom Raphael had been known from childhood. 
 
16 Life of Raphael Sanzio. 
 
 painted, or were in process of being painted, by different masters. 
 In one of these apartments, for example, there was an historical picture 
 completed by Piero della Francesca; Luca da Cortona 1 had made 
 considerable progress in the painting of one side of another; Don 
 Pietro della Gatta, 2 abbot of San Clemente in Arezzo, had also com¬ 
 menced certain works in the same place, and Bramantino of Milan 
 had painted numerous figures there, the greater part of which were 
 portraits from the life, which were considered to be exceedingly 
 beautiful. 3 On his arrival in Rome, Raphael was received with much 
 kindness by Pope Julius, and commenced a picture in the chamber of 
 the Segnatura, the subject of which is. Theologians engaged in the 
 reconciliation of Philosophy and Astrology with Theology. 4 In 
 this work are depicted all the sages of the world, arranged in different 
 groups, and occupied with various disputations. There are certain 
 astrologers standing apart who have made figures and characters of 
 geomancy 5 and astrology, on tablets which they send by beautiful 
 angels to the evangelists, who explain them. 6 Among the figures in 
 
 1 Of this work, Vasari does not make mention in the life of Luca da Cortona (Luca 
 Signorelli), which precedes that of Raphael. 
 
 2 Don Bartolommeo della Gatta, in whose life Vasari speaks only of works in the 
 Sistine Chapel, omitting all mention of those here alluded to. 
 
 3 There is much confusion in this passage. Piero della Francesca and Bramantino 
 having painted in the Vatican under Pope Nicholas V, Bartolommeo della Gatta and 
 Luca Signorelli under Sixtus IV, and only Perugino and Sodoma during the pontificate 
 of Julius II. See Platner and Bunsen , Beschreibung der Stadt Rom. 
 
 4 The school of Athens. 
 
 5 Geometrical and astronomical figures are here meant. Astronomy and astrology 
 were identical, as our readers will remember, when our author wrote, in the ideas of all 
 but the learned. 
 
 6 “ What a medley ! ” exclaims one of the angry Italians, at this description, “ he has 
 coupled the Evangelists with Diogenes and Plato,” and that our author is somewhat con¬ 
 fused in his description of this painting, cannot be denied ; he has mingled the personages 
 of the Dispute with those of the Scuola di Atene; but his compatriots have fallen on 
 him for the same with so little mercy, that we may spare him any further reproaches, ana 
 
La Belle Jardiniere. 
 
 IN THE LOUVRE, 
 
l 7 
 
 JLifeof Raphael Sanzio. 
 
 this painting is Diogenes with his cup; he is lying on the steps, an 
 extremely well-imagined figure, wrapt in his own thoughts, and much 
 to be commended for the beauty of the form and characteristic 
 negligence of the garments. There are likewise Aristotle and Plato 
 in this work, the one with the Timaeus, the other with the Ethics 
 in his hand ; around them is gathered in a circle a large school of 
 philosophers. The dignity of those astrologers and geometricians 
 who are drawing various figures and characters with the compasses 
 on a tablet, is not to be described : among these is the figure of a 
 youth of the most graceful beauty, who extends his arms in admira¬ 
 tion and inclines his head ; this is the portrait of Federigo, second 
 Duke of Mantua, who was at that time in Rome. There is also a 
 figure stooping to the ground and drawing lines with a pair of 
 compasses which he holds in his hands ; this is said to be the architect 
 Bramante, and is no less life-like than that of Federigo previously 
 described, or than it would be if it were indeed alive. Beside him 
 is one whose back is turned towards the spectator, and who holds a 
 globe of the heavens in his hand : this is the representation of 
 Zoroaster ; and near to this figure stands that of Raphael himself, the 
 master of this work, drawn by his own hand with the aid of a mirror; 
 a youthful head of exceedingly modest expression wearing a black cap 
 or barett, the whole aspect infinitely pleasing and graceful . 1 
 
 the rather, as we have ample means for the rectification of his mistakes in the numerous 
 “ biographies,’’ “ treatises,” and dissertations in every form, on the works of the 
 Prince of Painters which abound in all languages. See Richardson, Treatise on Painting 
 and Sculpture , Amsterdam, 1728 ; Duppa, Life of Raffaello Sanzio , London, 1816 ; 
 Bellori, Descrizione delle Immagini depinte da Raffaello da Urbino , nel Palazzo 
 Vaticano , &c, Rome, 1672 ; Rehberg. Quatremere de Quincy. Platner and Bunsen ; 
 Passavant, with many others. 
 
 1 The figure of Raphael is in the angle of the picture and to the right of the spectator; 
 the older man beside him, and dressed in a similar manner, is his master, Pietro Perugino. 
 
 D 
 
18 Life of Raphael Sanzio . 
 
 It would not be possible to describe the beauty and nobility of 
 character which the master has imparted to the heads and figures of the 
 Evangelists ; there is a certain air of meditative thought and attentive 
 consideration on the countenances, more especially of those who are 
 writing, which is depicted with the utmost truth. This may be more 
 particularly remarked in a St. Matthew, who is copying the characters 
 from the tablet which an angel holds before him , 1 these he is setting 
 down in a book. Behind him is an old man 2 who has placed a paper 
 on his knee, and in this he is inserting what St. Matthew 3 writes, 
 as the latter makes his extracts from the tablet: intent on his occupa¬ 
 tion, he remains in this inconvenient attitude, and seems to be twisting 
 his head and jaws as if to accompany the movements of his pen. 
 And to say nothing of all these well-considered minutiae, of which 
 there are nevertheless very many, the composition of the whole work 
 displays so much beauty of proportion and such perfection of arrange¬ 
 ment in every part, that the master did indeed give a notable example 
 of his capabilities therein, and clearly proved himself to be one who had 
 resolved to maintain the undisputed possession of the field against all 
 who handled the pencil; furthermore the artist adorned this work with 
 fine perspective views of magnificent buildings and with numerous 
 figures, all finished in a manner so delicate and harmonious, that the 
 excellence of the work caused Pope Julius to have all the stories of the 
 other masters, whether old or new, destroyed at once, resolving that 
 
 1 (t Another blunder,” exclaims one of the Florentine critics; but it is only the 
 continuation of that previously noted, and for which our good Giorgio has already been 
 sufficiently castigated. 
 
 2 This figure has been usually called Empedocles, but Passavant will have it to 
 represent Archytas. 
 
 3 Vasari here means to indicate the figure of Pythagoras, which is in the foremost 
 group of the School of Athens, and to the right of the spectator. 
 

 
 
 
 
 
 
 
 
 
 
IN THE VATICAN, ROME. 
 

Life of Raphael Sanzio. 19 
 
 Raphael alone should have the glory of seeing his works preferred to 
 all that had been done in paintings of that description up to his own 
 time . 1 
 
 Above the painting by Raphael, here described, was a work by 
 Giovanni Antonio Sodoma, of Vercelli , 2 and which ought to have been 
 destroyed in obedience to the commands of the Pope, but Raphael 
 nevertheless determined to retain the compartments as he found them, 
 and to use the arabesques which Giovanni Antonio had employed as 
 decorations; there were besides four circular divisions, and in each of 
 these Raphael depicted a figure, having relation to the picture which 
 was immediately beneath it. In the first of these circular compart¬ 
 ments, which is above the picture wherein the painter has delineated 
 Philosophy, Astrology,' Geometry, and Poetry, forming a union with 
 Theology, is a female figure representing Knowledge : 3 on each side 
 of this figure, which is seated, is a statue of the goddess Cybele, 
 with the form of breast usually attributed by the ancients to Diana 
 Polymastes ; 4 the vestments are of four colours, to indicate the four 
 elements; from the head downwards they are flame colour, to 
 intimate fire; beneath the girdle is the colour of the air ; from the 
 lap to the knees is that of earth ; and the remainder to the feet has 
 the colour of water; these figures are accompanied by very beautiful 
 boys. 
 
 1 The first picture painted by Raphael in Rome was not the School of Athens, 
 according to the authorities now considered of the greatest weight, but rather the Disputa , 
 which Vasari describes as executed at a later period. 
 
 2 Vasari is here describing the decorations of the ceiling. 
 
 3 Vasari has here returned to the School of Athens, over which is the figure of 
 Philosophy; over the Disputation respecting the Sacrament, is that of Theology; 
 Poetry is placed over the Parnassus; and over the allegory of Jurisprudence is the figure 
 of Justice. 
 
 4 The all-sustaining Diana. 
 
20 Ltf e of Raphael Sanzio. 
 
 In another circle, that turned towards the window which looks 
 upon the Belvedere, is depicted Poetry, represented under the form 
 of Polyhymnia; she is crowned with laurel, in one hand she holds 
 the antique lyre, and has a book in the other, the limbs are crossed, 
 and the face, which is of superhuman beauty, is turned upwards with 
 the eyes raised to heaven. This figure also is accompanied by two 
 boys, who are full of life and spirit ; these children assist to form with 
 her, as do those attending on the other figures, a group of richly 
 varied beauty; and on this side Raphael afterwards painted the 
 Mount Parnassus over the above-mentioned window. 
 
 In the circle which is over the picture wherein the holy doctors are 
 reading mass, is a figure of Theology, with books and other objects 
 around her, accompanied in like manner by the boys, which are no 
 less beautiful than those before referred to; above the other window 
 which looks towards the court, is placed the figure of Justice, in the 
 fourth circle namely ; she bears the balance in one hand and holds 
 the sword raised aloft in the other; the boys are with her as with the 
 previously cited figures, and are of supreme beauty. On the wall 
 beneath is represented the delivery of the civil and canon law, as will 
 be related in its due place. 
 
 In the angles of the ceiling Raphael likewise executed four historical 
 pictures, designed and coloured with extraordinary care, but the 
 figures are not of a large size : 1 in one of these, that next the 
 Theology, the master has depicted the sin of Adam in eating the 
 apple, and this he has executed in a very graceful manner. In the 
 second, which is above the Astrology, is the figure of that Science ; she 
 is assigning their due places to the planets and fixed stars. In the one 
 belonging to the Mount Parnassus is the figure of Marsyas, fastened 
 
 1 See Passavant, Rafael von Urbinc , where minute details, such as cannot here find 
 place, will be found respecting all these works. 
 
21 
 
 Life of Raphael Sanzio. 
 
 to a tree, and about to be flayed by Apollo; and near the picture 
 which represents the promulgation of the Decretals, is the judgment 
 of Solomon, when he decides that the infant shall be divided between 
 the contending mothers. All these four delineations exhibit much 
 thought and feeling ; they are admirably drawn, and the colouring is 
 pleasing and graceful. 
 
 But having now finished the description of the vaulting or ceiling 
 of that apartment, it remains that we declare what was executed on 
 each wall consecutively, and beneath the works indicated above. On 
 the side towards the Belvedere, where are the Mount Parnassus and 
 the Fountain of Helicon, the master depicted a laurel grove of very 
 deep shadows, and the verdure of the foliage is so finely painted that 
 the spectator almost fancies himself to perceive each separate leaf 
 trembling in the gentle breeze: innumerable figures of naked Loves, 
 with inexpressibly beautiful countenances, are hovering in the air, they 
 are gathering branches of the laurel wherewith they weave garlands, 
 which they then throw down and scatter on the mount, over which 
 there does of a truth seem to be the spirit of the divinity breathing, 
 such is the beauty of the figures, and the noble and elevated character 
 of the whole picture, which awakens admiration and astonishment in 
 all who behold it, when they consider that the human mind and mortal 
 hand, with only the simple means of imperfect colours, and by the 
 help of excellent drawing, has made a picture which appears as if it 
 were alive. The figures of the Poets also, distributed over the mount, 
 are all most truly animated. Some are standing, others seated, some 
 are writing, or speaking, or singing, others are conversing together in 
 groups of four or six, accordingly as it has seemed good to the master 
 to arrange them. In this portion of the work there are portraits of 
 the most renowned poets, ancient and modern, including among the 
 latter several who had lived or were living at Raphael’s own time: 
 
22 
 
 Life of Raphael Sanzio. 
 
 some of the older poets were taken from statues, some from medals, 
 many from old pictures; and others, who had lived in his own day, 
 were taken from nature by Raphael himself. To begin with the one 
 end, we have here the portraits of Ovid, Virgil, Ennius, Tibullus, 
 Catullus, Propertius, and Homer : the last named, blind and with the 
 head elevated, is pouring forth his verses, while there is a youth 
 seated at his feet who writes them as he sings. There is also in one 
 group Apollo 1 with the Nine Muses; and in all these figures there is 
 so much beauty, their countenances have an air of so much divinity, 
 that grace and life seem to breathe from every feature. There is 
 here portrayed the learned Sappho, and the most divine Dante ; the 
 graceful Petrarch, and the gay Boccaccio, who are all most truly ani¬ 
 mated and life-like. Tebaldero 2 is also here, with many other 
 modern writers, who are grouped with infinite grace and painted with 
 extraordinary care. 
 
 On one of the other sides the master has depicted Heaven, with 
 Christ and the Virgin, San Giovanni Battista, the Apostles, the 
 Evangelists, and the Martyrs, all enthroned amid the clouds ; and 
 above them is the figure of God the Father, who sends forth his Holy 
 Spirit over them all, but more particularly on a vast company of 
 Saints, who are celebrating the mass below, and some of whom are in 
 disputation respecting the Host, which is on the altar . 3 Among 
 
 1 The viol which Raphael has placed in the hands of Apollo would, beyond all doubt, 
 be well replaced by the lyre, but the painter is believed to have given the God the first- 
 named instrument, in honour of the then admired improvisatore and violinist, Giacomo 
 Sansecondo, who had inspired Raphael himself with so great an admiration for the viol, 
 that he considered it worthy to be placed in the hands of the God of Song. For a de¬ 
 tailed explanation of the figures in this work, see Passavant, ut supra. 
 
 2 This figure is frequently called Sannazzaro, but not on very good grounds.— Schorn. 
 
 3 Theology is here symbolized, but the picture is most commonly called the “ Dis¬ 
 pute concerning the Sacrament.” It is said to be the first work performed by Raphael 
 in the Vatican, or indeed in Rome. 
 

 
The Madonna della Casa d Alba. 
 
 IN THE HERMITAGE, ST. PETERSBURGH. 
 
/ i 
 
 
23 
 
 Life of Raphael Sanzio. 
 
 these are the four Doctors of the Church, who are surrounded by 
 numerous saints, San Domenico namely, with San Francesco, St. 
 Thomas Aquinas, SS. Bonaventura, Scotus, and Nicolaus of Lyra; 
 Dante , 1 Fra Girolamo Savonarola of Ferrara, and all the Christian 
 theologians are also depicted, with a vast number of portraits from 
 the life. In the air above are four Children, who are holding open 
 the four Gospels ; these are figures which it would not be possible for 
 any painter to surpass, such is their grace and perfection. The 
 Saints are seated in a circle in the air, and not only does the beauty of 
 the colouring give them all the appearance of life, but the fore¬ 
 shortenings, and the gradual receding of the figures, are so judiciously 
 managed, that they could not appear otherwise if they were in relief; 
 the draperies and vestments are richly varied, and the folds are of 
 infinite grace, the expression of the countenances moreover is celestial 
 rather than merely human. This is more particularly to be remarked 
 in that of the Saviour, which exhibits all the mildness and clemency 
 of the divine nature that could possibly be presented to the human 
 eyes by a mere painting. Raphael was indeed largely endowed with 
 the power of imparting the most exquisite expression to his faces, and 
 the most graceful character to the heads of his pictures : of this we 
 have an instance in the Virgin, who with her hands crossed on her 
 bosom, is regarding her divine Son, whom she contemplates with an 
 expression which implies her perfect assurance that he will not refuse 
 forgiveness. There is, moreover, a certain dignity in the figures of 
 this master with a characteristic propriety, which is without doubt 
 most beautiful; to the holy Patriarchs he gives the reverence of age, 
 
 1 “ It is not without good reason,” observes an Italian commentator, “ that Raphael 
 has placed Dante among the theologians as well as poets; and therein he may have 
 followed the advice of Ariosto, whom he is known to have consulted in respect to the 
 personages to be placed in his works.” 
 
24 
 
 Life of Raphael Sanzio. 
 
 to the Apostles the earnest simplicity which is proper to their cha¬ 
 racter, and the faces of his Martyrs are radiant with the faith that is in 
 them . 1 But still more richly varied are the resources of art and genius 
 which this master has displayed in the holy Doctors, who are engaged 
 in disputation, and are distributed over the picture in groups of six, 
 four, or two. Their features give token of a certain eager curiosity, 
 but also of the earnest desire they feel to discover the precise truth of 
 the matter in question: this is made further manifest by the action of 
 the hands and by various movements of the person, they bend the ear 
 with fixed attention, they knit the brow in thought, and offer evi¬ 
 dence, in their looks, of surprise, or other emotions, as the contend¬ 
 ing propositions are presented; each in his own peculiar manner, but 
 all with most appropriate as well as beautiful and varied expression.. 
 Distinguished from the rest are the four Doctors of the Church, 
 who, being illuminated by the Holy Spirit, resolve and explain, 
 by the aid of the Holy Scriptures, all the difficulties presented by the 
 gospels, which the boys who are hovering in the air hold before 
 them. 
 
 On the third side of the apartment, that namely wherein is the 
 other window which looks upon the court, Raphael painted, on the 
 one part, Justinian, who is giving the laws to the Doctors 2 for 
 revisal, with figures of Temperance, Fortitude, and Prudence above; 
 on the other, the Pope 3 who delivers the Decretals or canon laws; 
 
 1 Quatremere de Quincy remarks on these heads, that they are indeed full of truth, 
 but of the truth of portraiture, as was to be expected from the prevalence of ideas proper 
 to the Florentine school, which then influenced the manner of Raphael: in succeeding 
 works, a character of beauty which is more ideal will be found to prevail. See Passavant 
 also, who agrees with De Quincy in the opinions here expressed. 
 
 2 To Trebonianus namely, who is accompanied by six other Doctors in the Law. 
 — Schorn. 
 
 3 Pope Gregory IX. 
 
The Madonna, Aldobrandini. 
 
 IN THE NATIONAL GALLERY. 
 

 
 
2 5 
 
 Life of Raphael Sanzio. 
 
 and in this pontiff Raphael has depicted the portrait of Pope 
 Julius II; he has likewise executed portraits from the life of Cardinal- 
 vicar, Giovanni de’ Medici, who was afterwards Pope Leo X, of 
 Cardinal Antonio de’ Monte, and the Cardinal Alessandro Farnese, 
 who ultimately became Pope Paul III, with those of many other 
 personages . 1 
 
 The pope was highly satisfied with all that was done; and to the 
 end that the wood-work of the apartment should be worthy of the 
 paintings, he caused Fra Giovanni of Verona to be summoned from 
 the convent of Monte Oliveto di Chiusuri, a monastery in the 
 territory of Siena; Fra Giovanni was a renowned master in works 
 representing perspective views of buildings, formed of woods inlaid; 
 and he not only prepared the wainscot around the room, but also 
 made very beautiful doors and seats, richly decorated in the perspec¬ 
 tive ornaments for which he was famed, and which acquired for him 
 very great honour, with much favour from the Pope, who rewarded 
 him very liberally. 
 
 It is indeed certain that in works of this kind there has never been 
 a more able master than Fra Giovanni, a fact to which we have 
 testimony still in his native city of Verona; this is presented by the 
 Sacristy of Santa Maria-in-Organo, which is most beautifully adorned 
 with inlaid work representing views in perspective . 2 The choir of 
 Monte Oliveto di Chiusuri affords another proof of his skill, as does 
 that of San Benedetto di Siena : the Sacristy of Monte Oliveto di 
 Napoli was in like manner adorned by Fra Giovanni, and in the 
 same place is the Chapel of Paolo da Tolosa, which that master also 
 
 1 See Passavant, vol. ii. p. 109. 
 
 2 Fra Giovanni was an architect also. The Campanile of the above-mentioned 
 church of Santa Maria-in-Organo was built after his design.— Masselli. 
 
 E 
 
26 
 
 Life of Raphael Sanzio. 
 
 decorated in wood-work. 1 By all these labours he obtained much 
 honour from those of his order, by whom he was ever held in the 
 highest estimation until his death, which took place in 1537, when 
 he had attained the age of sixty-eight. Now of this master, as of a 
 person who was truly excellent and remarkable in his art, I have 
 thought it well to make mention thus far, for it appears to me that 
 his talent has well merited so much, seeing that we are indebted to it 
 for the fine works that were afterwards executed by many other 
 masters, to whom Fra Giovanni laid open the way. 
 
 But to return to Raphael. His powers now became developed 
 to the utmost, and he received a commission from the Pope to paint a 
 second room in the Vatican ; that towards the great hall namely. At 
 this time, also, our artist, who had now acquired a very great name, 
 depicted the portrait of Pope Julius himself. This is an oil painting, 
 of so much animation and so true to the life, that the picture im¬ 
 presses on all beholders a sense of awe as if it were indeed the living 
 object; this portrait is now preserved in the church of Santa Maria del 
 Popolo, 2 together with a very beautiful Madonna, executed at the 
 same time by the same master. In the last named picture, which 
 represents the Nativity of Christ, the Virgin is covering with a veil 
 her divine Child; 3 the expression of whose countenance is of such 
 
 1 These decorations in wood*work are said to have been destroyed in 1527, when 
 Rome was plundered, as our readers will remember ; an event which took place in the 
 pontificate of Clement VII. 
 
 2 Now in Florence in the Pitti Palace, where there is also a copy of the same work. 
 There is a replica, or duplicate, in the Tribune of the Uffizj, in the same city. That 
 in our National Gallery needs no mention here. For the many duplicates and other 
 copies, see Passavant, as before cited. 
 
 3 Longhena mentions various pictures of the Virgin throwing a veil over or 
 removing it from the divine Child, but of this, which comprises the figure of St. Joseph, 
 we do not find it possible to obtain any information that is entirely satisfactory. The 
 
2 7 
 
 Life of Raphael Sanzio. 
 
 wonderful beauty, and his whole person so clearly demonstrates the 
 divinity of his origin, that all must perceive him to be truly the Son 
 of God. Nor are the attitude and countenance of the Madonna less 
 beautiful, they exhibit the perfection of grace with an expression of 
 mingled piety and gladness. There is also a St. Joseph standing 
 with both his hands supported on a staff, and contemplating the King 
 and Queen of Heaven, with the adoration of a most righteous old 
 man. Both these pictures are exhibited to the people on all 
 occasions of solemn festival. 
 
 Raphael had at this time acquired much fame in Rome, but 
 although he had the graceful manner which was held by every one to 
 be most beautiful, and saw continually before his eyes the numerous 
 antiquities to be found in that city, and which he studied continually, 
 he had, nevertheless, not yet given to his figures that grandeur 
 and majesty which he always did impart to them from that time 
 forward. For it happened at the period to which we now refer, 
 that Michael Angelo had made such clamours in the Sistine Chapel, 
 and given the Pope such alarms, that he was compelled to take 
 flight and sought refuge in Florence. Whereupon Bramante, 
 having the key of the chapel, and being the friend of Raphael, 
 permitted him to see it, to the end that he might understand 
 Michael Angelo’s modes of proceeding . * 1 The sight thus afforded to 
 
 most probable conjecture is that it was the one called the “ Madonna di Loretto,” and 
 which has now disappeared. See Landon, (Euvres de Raphael See also Passavant, as 
 above cited, vol. ii. p. 126. 
 
 1 “ That Raphael should secretly visit the works of Michael Angelo by the means 
 here described,” observes an Italian writer, “ is very unlikely, but the fact that there 
 were many who would not have scrupled to do so, may have suggested the suspicion to 
 Michael Angelo and his followers.” It is, besides, well known that the Sistine Chapel 
 
28 
 
 Life of Raphael Sanzio. 
 
 him caused Raphael instantly to paint anew the figure of the prophet 
 Isaiah, which he had executed in the Church of Sant' Agostino, above 
 the Sant’ Anna of Andrea Sansovino, although he had entirely finished 
 it; and in this work he profited to so great an extent by what he had 
 seen in the works of Michael Angelo, that his manner was thereby in¬ 
 expressibly ameliorated and enlarged, receiving thenceforth an obvious 
 increase of majesty. 
 
 But when Michael Angelo afterwards saw the work of Raphael, he 
 thought, as was the truth, that Bramante had committed the wrong 
 to himself of which we have here spoken, for the purpose of serving 
 Raphael, and enhancing the glory of that master's name . * 1 
 
 No long time after this, Agostino Chisi, a very rich merchant of 
 Siena, who was a great admirer of all distinguished men, gave Raphael 
 a commission to paint a chapel. This he did because, some short 
 time previously, the master had produced a fresco of the most 
 exquisite beauty, in a Loggia of his palace, in the Trastevere, now 
 called the Chisi ; 2 the subject of this is Galatea 3 in a car on the sea 
 drawn by two dolphins and surrounded by Tritons and different 
 marine deities . 4 Having made the cartoon for the above named 
 
 was thrown open to the public about the time when this secret visit is said to have 
 taken place. 
 
 1 It is now the general opinion among good judges, that the manner of Raphael 
 was rather injured than ameliorated by whatever influence he may have permitted the 
 works of Michael Angelo to exercise over it. The Isaiah, which is one of his feeblest 
 works, was completed in 1512. It suffered considerable injury from an ignorant 
 pretender, who affected to clean it, in the reign of Paul IV, and was afterwards re¬ 
 touched by Daniel of Volterra, who very probably rendered it still more feeble. 
 
 2 The Chigi Palace is now the Farnesina. 
 
 3 The Galatea was painted in 1514. 
 
 4 The following passage will be found in a letter on the subject of ideal beauty in 
 works of art, from Raphael to Baldassare Castiglione “ With respect to the Galatea, 
 

 
 
 
 
 
 
 
 
 
 
 
The Madonna with the Diadem. 
 
 IN THE LOUVRE, 
 

 
 
 3s* 
 
 
 
 
29 
 
 Life of Raphael Sanzio. 
 
 chapel, which is at the entrance of the Church of Santa Maria della 
 Pace, on the right as one enters by the principal door, the master 
 executed it in fresco, in his new manner, which was somewhat grander 
 and more majestic than the earlier one. In this picture Raphael 
 painted some of the Prophets and Sybils, before Michael Angelo had 
 thrown open the chapel, which he had nevertheless seen, as has been 
 related ; 1 and of a truth, these figures are considered to be the best, 
 and among so many beautiful the most beautiful, seeing that in the 
 women and children represented, there is the very perfection of truth 
 and animation ; the colouring, moreover, is faultless . 2 This work 
 caused the master to be most highly extolled, both during his life and 
 after his death, being, as it was, the most remarkable and most 
 excellent one that Raphael ever executed. Raphael being earnestly 
 entreated by a chamberlain of Pope Julius II . 3 to paint the picture 
 for the high altar of the chapel of the Ara Coeli, he therein depicted 
 
 I should hold myself to be a great master, if there were in it one half of the merits of 
 which you write, but in your words I cannot fail to perceive the partiality of your 
 friendship for myself. To paint a figure truly beautiful, it might be necessary that I 
 should see many beautiful forms, with the further provision that you should yourself 
 be near, to select the best; but seeing that good judges and beautiful women are scarce, 
 I avail myself of certain ideas which come into my mind. Whether I have in myself 
 any portion of the excellence of art, I know not, but I labour heartily to secure it.” 
 
 1 In the life of Michael Angelo, Vasari himself asserts that the Prophets and Sybils 
 were painted by Raphael after the Sistine Chapel had been publicly opened. 
 Quatremere de Quincy remarks of Raphael, that “ so far from having imitated Michael 
 Angelo in these figures, it might be supposed that he had in fact designed to make 
 manifest in his own production, what it is that the work of Buonarotti wants to be 
 perfect.” 
 
 2 These admirable paintings of the Church called Della Pace having suffered much 
 from time, were carefully restored some years since by Palmaroli .—Masselli and 
 Passavant. 
 
 3 Sigismondo Conti of Fuligno, private secretary to Pope Julius, and a learned 
 historian. 
 
30 Life of Raphael Sanzio. 
 
 the Madonna, reposing on the clouds of heaven, and with San 
 Giovanni, San Francesco, and San Girolamo , 1 robed in the vestments 
 of a cardinal, in a beautiful landscape beneath. In this virgin there 
 is the expression of a modesty and humility truly worthy of the 
 Mother of Christ: the divine Child, in an attitude of exquisite 
 beauty, is playing with the mantle of Our Lady ; the form of San 
 Giovanni gives clear proof of the fasting to which his penitential 
 discipline has subjected him, while in the expression of his counte¬ 
 nance, one reads the sincerity of his soul, together with a frank and 
 cheerful serenity, proper to those who, far removed from the influence 
 of the world, look down on it with contempt, and in their commerce 
 with mankind, abhorring all duplicity, devote themselves to the 
 promulgation of truth. The head of San Girolamo is raised, his 
 eyes are fixed on the Virgin, whom he is regarding earnestly. And 
 in the eyes thus raised there are to be perceived all that learning and 
 wisdom which are made manifest in his writings . 2 With a movement 
 of both the hands he is in the act of recommending the chamberlain 
 to the protection of Our Lady ; and the figure of that chamberlain in 
 actual life is scarcely more animated than the one here painted. Nor 
 is there less of truth and nature in the San Francesco; he is kneeling 
 on the earth, with one arm extended, and the head raised as he turns 
 his gaze aloft, towards the Madonna ; he is depicted with a glow of 
 pious affection in his countenance, every line of which is beaming 
 with the holiest emotion. The features and complexion show that 
 the saint is consuming away in pious resignation, but is receiving 
 
 1 St. Jerome. 
 
 2 Conti is said to have commanded this picture to be presented to the Virgin, in 
 gratitude for her interposition between himself and a flash of lightning, or, as other 
 accounts have it, a shell, which had fallen near his house at the siege of Fuligno. In 
 allusion to this circumstance, a fiery ball is seen passing over the landscape. 
 

 
 
 

 
 
 
 
 
 I 
 
 
 
The Madonna di Fuligno. 
 
 IN THE VATICAN, ROME. 
 

 
 
3 1 
 
 Life of Raphael Sanzio. 
 
 comfort and life from the most gentle and beautiful looks of the 
 Mother, as well as from the sovereign loveliness of the divine Child . 1 
 In the centre of the picture and immediately beneath the Virgin, is a 
 boy; his head is raised towards our Lady, and he bears a tablet in 
 his hands. It is not possible to imagine any thing more graceful or 
 more beautiful than this child, whether as regards the head or the rest 
 of the person. There is besides a landscape of singular beauty, and 
 which is executed to the highest perfection in every part. 
 
 Raphael then continued his work in the chambers of the Vatican, 
 where he depicted the Miracle of the Sacrament, or the Corporas of 
 Bolsena, whichever it may be called. In this story, the Priest who 
 is reading the Mass is seen to have his face glowing with the shame 
 which he felt, when, in consequence of his own unbelief, he beheld the 
 Host bleeding on the Corporas, as a reproof for his want of faith; 
 terrified at the looks of his hearers, he has lost all self-possession, and 
 is as a man beside himself; he has the aspect of one utterly con¬ 
 founded, the dismay that has seized him is manifest in his attitude, 
 and the spectator almost perceives the trembling of his hands ; so 
 well are the emotions inevitable from such a circumstance expressed 
 in the work . 2 Around the priest are many figures of varied character ; 
 some are serving the Mass, others kneel, in beautiful attitudes, on a 
 flight of steps, and moved by the novelty of the occurrence, exhibit 
 
 1 This picture is called the Madonna of Fuligno, having been removed from the 
 Church of the Ara Cceli, to that city, at the request of a niece of Conti’s, who was a 
 nun at the Convent of Sant’ Anna, called Le Contesse. The work here in question was 
 among those taken to Paris, where it was transferred from panel to canvas : it is now 
 in the Vatican. 
 
 2 This miracle is said to have taken place in the year 1264, and under the pontificate 
 of Urban IV, who instituted the festival of the Corpus Domini in consequence thereof. 
 — Bottari. The festival so called was nevertheless not universally celebrated until fifty 
 years later.— Ed. Flor. 1832-8. 
 
32 Life of Raphael Sanzio. 
 
 their astonishment and emotion in divers gestures, some giving evi¬ 
 dence of a desire to acknowledge themselves guilty of error, and this 
 is perceived in men as well as in women. Among the latter is one at 
 the lower part of the picture, seated on the earth and holding a child 
 in her arms; she is listening while another relates the circumstance 
 that has just happened to the priest; full of wonder she turns towards 
 the speaker with a feminine grace and animation that is truly cha¬ 
 racteristic and life-like . 1 On the other side is the Pope, Julius II, who 
 is hearing the Mass, an admirable part of the work, and here Raphael 
 has depicted the portrait of the Cardinal di San Giorgio , 2 with a vast 
 number of other personages, also from the life. The break caused 
 by the window was turned to account by the master, who having 
 there represented an ascent in the form of a flight of stairs, thus makes 
 the paintings on each side into one sole picture, nay, he has even made 
 it appear that if this opening caused by the window had not been 
 there, the scene could not have been so well arranged. It may indeed 
 with truth be said of Raphael here, as elsewhere, that as respects in¬ 
 vention and the graces of composition, whatever the story may be, no 
 artist has ever shown more skill, more readiness of resource, or a more 
 admirable judgment than himself; a fact of which he has given fur¬ 
 ther proof in this same place, where in the opposite picture he has 
 represented San Pietro thrown into a prison by Herod , 3 and guarded 
 by soldiers. The architectural details here depicted and the simple 
 delineation of the prison, are treated with so much ingenuity that the 
 works of other artists, when compared with those of Raphael, seem to 
 exhibit as much of confusion as do that master’s of grace and beauty. 
 
 1 The Miracle of Bolsena was painted in 1512.— Ed. Flor. 1832-8. 
 
 2 Raffaello Riario, who made himself conspicuous by his hatred to the House of 
 Medici, against which he twice organized a conspiracy.— Schorn . 
 
 3 Called " La Scarcerazione di San Pietro .”—Note to the German Edition of Vasari. 
 
33 
 
 Life of Raphael Sanzio. 
 
 Raphael constantly endeavoured to represent the circumstances which 
 he depicted as they are described or written, and to assemble only the 
 most appropriate and characteristic objects in his works, as for ex¬ 
 ample in the picture before us, where he reveals to us the wretched¬ 
 ness of the prison. Bound with chains, that aged man is seen 
 extended between two soldiers; the deep and heavy sleep of the 
 guards is rendered fully manifest, as the resplendent light proceeding 
 from the Angel illumines the darkness of night, and causes the most 
 minute particulars of the prison to be clearly discerned ; the arms of the 
 sleepers shine so brilliantly, that their burnished lustre seems rather to 
 belong to things real and palpable, than to the merely painted surface 
 of a picture. 
 
 No less remarkable are the art and ingenuity displayed in another 
 part of the same picture; that namely where, freed from his chains, 
 the Apostle walks forth from his prison, accompanied by the Angel. 
 In the countenance of St. Peter there is evidence that he is a man who 
 feels himself to be acting in a dream, and not as one awake. Equally 
 well expressed are the terror and dismay of those among the guards, 
 who, being outside the prison, hear the clang of the iron door; a 
 sentinel with a torch in his hand, awakens his sleeping companions; 
 the light he holds is reflected from their armour, and all that lies 
 within the place which the torch has not reached is lighted by the 
 Moon. This admirably conceived picture Raphael has placed over 
 the window, at the darkest part of the room; it thus happens that 
 when the spectator regards the painting, the light of day strikes on 
 his eyes and the beams of the natural light mingle and contend with 
 the different lights of the night as seen in the picture, the observer 
 fancies himself really to behold the smoke of the torch, and the 
 splendour of the Angel, all which, with the dark shadows of the 
 night, are so natural and so true, that no one would ever affirm it to 
 
 F 
 
34 
 
 Life of Raphael Sanzio. 
 
 be painted, but must believe it to be real, so powerfully has our artist 
 rendered this most difficult subject . 1 The play of the shadows on the 
 arms, the flickering reflections of the light, the vaporous haloes thrown 
 around the torches, the dim uncertain shade prevailing in certain 
 parts ; all are painted in such a manner, that contemplating this work 
 one cannot but declare Raphael to be indeed the master of all masters. 
 Never has painting which purports to counterfeit the night been more 
 truly similar to the reality than is this, which is of a truth a most 
 divine work, and is indeed admitted by common consent to be the 
 most extraordinary and most beautiful of its kind. 
 
 On one of the unbroken walls of the chamber, Raphael then de¬ 
 picted the worship of God as practised among the Hebrews, with the 
 Ark and golden Candlesticks ; here also is the figure of Pope Julius, 
 who is driving the avaricious intruders from the Temple . 2 In this 
 work, which is of similar beauty and excellence to the night-piece 
 described above, several portraits of persons then living are preserved 
 to us in the persons of the bearers 3 who support the chair wherein 
 Pope Julius is borne along ; the figure of the Pontiff is most life-like. 
 While the populace, among whom are many women, make way for 
 
 1 This is one of the earliest night-pieces painted by the Italian artists, and its 
 masterly treatment has secured the author the lasting admiration of the world. It was 
 the first painted after the accession of Leo X, and doubtless refers to his remarkable 
 l iberation from the French after the battle of Ravenna. It was finished in 1514. See 
 Passavant, vol. i. p. 198, vol. ii. p. 160. 
 
 2 On this picture, which represents the miraculous expulsion of Heliodorus from the 
 Temple, Giulio Romano is said to have worked to a considerable extent. It was com¬ 
 pleted in 1512, consequently before that previously so much extolled by Vasari.— Ed. 
 Flor. 1832-8. 
 
 3 The foremost of these bearers is the portrait of the copper-plate engraver, 
 Marc Antonio Raimondi: his opposite companion is said to be that of Giulio Romano. 
 Behind the Pope, stands the Secretary of Memorials, who holds a paper in his hand, 
 with the inscription, Io Petro de Falcariis Cremonens. —Bottari. See also Passavant^ 
 vol. i. 194, vol. ii. 1 56. 
 
35 
 
 Life of Raphael Sanzio. 
 
 his Holiness to pass, they give to view the furious approach of an 
 armed man on horseback; he is accompanied by two others who are 
 on foot, and together they smite and overthrow the haughty Helio- 
 dorus, who, by the command of Antiochus, is about to despoil the 
 Temple of all the treasures deposited for the widows and orphans . 1 
 The wares and treasures are already in process of being borne away, 
 but the terror awakened by the new occurrence of Heliodorus, struck 
 down and scourged by the three figures above-mentioned, who are 
 seen and heard by himself alone, being only a vision, causes those 
 who are bearing the spoils away to let all drop from their hands, while 
 they themselves fall stumbling over each other, possessed as they are 
 by a sudden affright and horror which had fallen on all the followers 
 of Heliodorus. Apart from these stands the High Priest, Onias, 
 in his pontifical robes, his hands and eyes are raised to heaven, and 
 he is praying most fervently, being moved to compassion for the poor, 
 whom he has beheld on the point of being despoiled of their posses¬ 
 sions, but is yet rejoiced at the succour which he feels that Heaven 
 has sent to them. With felicitous invention Raphael has placed 
 various figures about the different parts of the building, some of 
 whom climb on the socles of the columns, and clasping the shaft, thus 
 stand, maintaining themselves with difficulty in their inconvenient 
 position, to obtain a better view of the scene passing before them ; the 
 mass of the people meanwhile, astounded at what they behold, remain 
 in divers attitudes awaiting the result of the wondrous event. 
 
 The whole of this work was so admirably executed in every part 
 that even the Cartoons were very highly estimated. Messer Fran¬ 
 cesco Masini , 2 a gentleman of Cesena, who, without any master, but 
 
 1 See the second book of Maccabees, chap. iii. 
 
 2 The Roman Edition has Massini, as the Cremonese family still write the name. 
 The fragments here alluded to are still in their possession. 
 
36 
 
 Life of Raphael Sanzio. 
 
 impelled from childhood by the love of art, has produced many paint¬ 
 ings and works in design, has certain pieces of the Cartoon which 
 Raphael prepared for this story of Heliodorus still in his possession; 
 they are treasured, with all the esteem which they so truly merit, 
 among the various antiquities in marble, rilievi and others, which he 
 has collected ; his own pictures and designs are also of such merit, that 
 many, well acquainted with art, have bestowed on them the highest 
 commendations. Nor will I omit to mention that Messer Niccolo 
 Massini, from whom it is that I have received intelligence of these 
 things, is himself a sincere lover of our arts, as he is the friend of all 
 other good and praiseworthy endeavours. 
 
 But to return to Raphael. In the ceiling above these works he 
 delineated four pictures : the subject of the first being the appearance 
 of the Almighty Father to Abraham, to whom he promises the con¬ 
 tinuation of his race ; that of the second, the sacrifice of Isaac ; and of 
 the third, Jacob’s dream ; while the fourth represents Moses standing 
 before the burning bush. In this work, the knowledge of art, rich 
 power of invention, correct design, and exquisite grace which dis¬ 
 tinguish our artist, are no less manifest than in the others whereof we 
 have made mention. 
 
 And now, when the happy genius of the master was effecting such 
 wonders, the envy of fortune deprived of life that pontiff who was the 
 especial protector and support of such talent, while he was the zealous 
 promoter of every other good and useful work. Julius II. died , 1 but 
 was succeeded by Leo X, who forthwith commanded that the labours 
 commenced should be continued. The genius of Raphael was now 
 exalted to heaven, and he received innumerable proofs of favour 
 from the new pontiff, fortunate in having encountered a prince so 
 
 On the 13th February, 1513. 
 
Life of Raphael Sanzio. 3 7 
 
 great, and one on whom the love of art had devolved by hereditary 
 descent . 1 
 
 Thus encouraged, Raphael devoted himself with all his heart to 
 the work, and on another wall of the same apartment, he represented 
 the Approach of Attila towards Rome, and his encounter with Pope 
 Leo III, by whom he is met at the foot of Monte Mario, and who 
 repulses him by the power of his word alone. In this picture, 
 Raphael has shown San Pietro and San Paolo appearing in the air with 
 swords in their hands, with which they come to defend the church. 
 It is true that the History of Leo III. says nothing of such an 
 occurrence, but so Raphael has chosen to represent it, perhaps as a 
 mere fancy ; for we know that painters and poets frequently permit 
 themselves a certain degree of freedom for the more effectual 
 decoration of their works, and this they may do without any undue 
 departure from the propriety of the original thought. In the two 
 apostles thus depicted, there is all that holy zeal and dignity which 
 the Divine Justice frequently imparts to the countenances of those 
 among God’s servants, whom it has commissioned to become the 
 defenders of the most holy faith. The effect of this expression on 
 Attila is manifest in his face. He is riding on a fiery black horse, 
 having a star on the forehead, and beautiful as it is possible that a 
 horse could be ; the attitude of the animal also betrays the utmost 
 terror, its head is thrown aloft, and the body is turning in the act of 
 flight . 2 
 
 1 For the services to art performed by Julius II, and Leo X, and for the connec¬ 
 tion of Raphael with both these Pontiffs, see Passavant, as above cited, vol. i. p. 205, 
 et seq. 
 
 2 The numerous errors into which Vasari has here fallen, are in part attributable to 
 the Florentine historian, Villani, (see lib. ii. cap. 3). The meeting with Attila took 
 place on the river Mincio, near Mantua, and the Pontiff was not Leo III. but Leo the 
 Great, the first of the name. 
 
38 
 
 Life of Raphael Sanzio. 
 
 There are other magnificent horses in the same work, among 
 them a Spanish jennet, ridden by a figure which has all the parts 
 usually left nude covered with scales in the manner of a fish; this is 
 copied from the column of Trajan, the figures of the people around 
 that column being armed in this fashion; such defences being made, 
 as is conjectured, from the skins of crocodiles. Monte Mario is seen 
 burning, as an intimation that on the departure of soldiery, the 
 dwellings are constantly given as a prey to the flames. Certain 
 mace-bearers belonging to the papal retinue are painted with 
 extraordinary animation, as are the horses which they are riding; the 
 same may be said of the court of Cardinals, and of the grooms who 
 bear the canopy over the head of the pontiff . 1 The latter. Pope 
 Leo X, is on horseback, in full pontificals, and is no less truthfully 
 portrayed than are the figures beformentioned. He is followed by 
 numerous courtiers, the whole scene presenting an extremely beautiful 
 spectacle, in which all is finely appropriate to its place, and these details 
 are exceedingly useful to those who practise our art, more particularly 
 to such as are unprovided with the objects here represented. 
 
 About the same time a picture was executed by Raphael for 
 Naples, and this was placed in the church of San Domenico, and in 
 that chapel wherein is the crucifix which spoke to St. Thomas 
 Aquinas. In this work, Raphael depicted Our Lady, San Girolamo, 
 clothed in the vestments of a cardinal, and the angel Raphael, who is 
 serving as the guide of the youthful Tobit . 2 For Leonello da Carpi, 
 
 1 The choice of subject in this picture is sometimes said to have been intended as 
 an allusion to the expulsion of the French from Italy, and the figure of Attila has been 
 called a portrait of Louis XII, King of France, but these assertions do not appear to be 
 well-founded. See Passavant. 
 
 2 This is the picture known as the Madonna del Pesce (of the Fish), and is now in 
 the Escurial. The Chapel in which it was originally placed was one much resorted to 
 
The Madonna del Pesce. 
 
 IN THE ESCURIAL, MADRID, 
 
39 
 
 Life of Raphael Sanzio. 
 
 Lord of Meldola, who is still living, and has attained the age of more 
 than ninety years, he painted a picture, the colouring of which is 
 most admirable, and the beauty of the whole work very remarkable; 
 it is indeed executed with so much force, and in a manner so 
 exquisitely graceful withal, that I do not think the art could possibly 
 produce or exhibit a finer work. There is a divinity in the counte¬ 
 nance of Our Lady, and a modest humility in her attitude, than 
 which it would not be possible to conceive anything more beautiful. 
 The master has depicted her with folded hands, in adoration of the 
 divine Child, who is seated on her lap, and is caressing a little 
 St. John; the latter is also adoring the Redeemer: the figures of 
 St. Joseph and St. Elizabeth complete the group. This picture was 
 formerly in the possession of the most reverend Cardinal di Carpi , * 1 
 son of the above-named Signor Leonello, a very zealous admirer of 
 our arts; it must now be in that of his heirs . 2 
 
 When Lorenzo Pucci, Cardinal of Santi Quattro, was created 
 High Penitentiary, he caused Raphael, who was in great favour with 
 him, to paint a picture for San Giovanni-in-Monte, at Bologna. 
 This is now placed in that chapel wherein are deposited the relics of 
 
 by persons afflicted with diseases of the eyes; Tobit, with his fish, is therefore highly 
 appropriate. St. Jerome, who holds a book in his hand, is also much in his place on 
 this occasion, as being the translator of the book of Tobit. This is one of the works 
 taken to Paris, where it was transferred from the panel to canvas ; it is entirely by 
 Raphael himself, and is considered to be one of his best works. 
 
 1 The Cardinal Ridolfo Pio da Carpi, a great protector of learned men, and the 
 possessor of the celebrated Medicean Virgil. He died in 1564.— Bottari. 
 
 2 Passavant considers this picture to be that in the Museo Borbonico, at Naples, but 
 equally important authorities declare the Madonna of the Borbonico to be a fine copy, 
 by Giulio Romano, or at best, but a replica of the original, which they affirm to have 
 been taken to Paris, whence, after having adorned the gallery at Malmaison, it was 
 transferred to St. Petersburg. 
 
40 Life of Raphael Sanzio. 
 
 the Beata Elena dall’ Olio , 1 and serves to show what grace united 
 with art could effect, when acting by the most accomplished and 
 most delicate hands of Raphael. The subject of the work is Santa 
 Cecilia , 2 listening in ecstacy to the songs of the angelic choir, as their 
 voices reach her ear from heaven itself: wholly given up to the 
 celestial harmony, the countenance of the saint affords full evidence 
 of her abstraction from the things of this earth, and wears that rapt 
 expression which is wont to be seen on the faces of those who are in 
 ecstacy . 3 Musical instruments lie scattered around her, and these do 
 not seem to be merely painted, but might be taken for the real 
 objects represented . 4 The same thing may be affirmed of the veil 
 and vestments, formed of cloth of gold and silver, with which Santa 
 Cecilia is clothed, and beneath which is a garment of hair-cloth, also 
 most admirably painted. In the figure of St. Paul likewise, the 
 power and thought of the master are equally obvious: the saint is 
 resting his right arm on his naked sword, the head is supported by 
 the left hand, and the pride of his aspect has changed to a dignified 
 gravity; the vestments of St. Paul consist of a simple cloth mantle. 
 
 1 Elena Duglioli dall* Olio, who was inspired to build the chapel to St. Cecilia, 
 which is that here alluded to, was a noble lady of Bologna, and kinswoman to the 
 Cardinal of Sand Quattro, who undertook to erect the same. Elena was afterwards 
 declared a Beata. 
 
 2 This picture is the celebrated St. Cecilia, now in the gallery of the Academy 
 at Bologna. 
 
 3 The visitor of Italian galleries and churches will remember many an eloquent 
 exposition of what is here meant, in the picture of Santa Theresa, St. Francis, and 
 others. To the Protestant Church the exhibition of “ Saints in ecstacy” is not yet 
 become matter of frequent occurrence, nor is there now perhaps any very high 
 probability of its doing so. 
 
 4 These instruments are said to have been painted by Giovanni da Udine, as is 
 remarked by Vasari himself in another place.— Ed. Flor. 1832-8. 
 
I he Madonna della Sedia. 
 
 IN THE PITT I PALACE, FLORENCE, 
 
4 1 
 
 Life of Raphael Sanzio. 
 
 the colour of which is red, with a green tunic beneath, after the 
 manner of the apostles ; his feet are bare. St. Mary Magdalen also 
 forms part of the group, and holds a vase, made of a very fine 
 marble, in her hand. The attitude of this figure is singularly 
 graceful, as is the turn of her head ; she seems to rejoice in her con¬ 
 version, and I do not think it would be possible that any work of the 
 kind could be more perfectly executed. The heads of St. Augustine 
 and of St. John the Evangelist, which are both in this picture, are of 
 equal excellence. It may indeed with truth be declared that the 
 paintings of other masters are properly to be called paintings, but 
 those of Raphael may well be designated the life itself, for the flesh 
 trembles, the breathing is made obvious to sight, the pulses in his 
 figures are beating, and life is in its utmost animation through all his 
 works. 
 
 This picture secured the author many commendations and a great 
 increase of fame, insomuch that numerous verses, both in Latin and 
 the vulgar tongue, were composed to his honour; of these I will but 
 insert the following, that I may not make a longer story than is 
 needful:— 
 
 “ Pingant sola alii , refer ant que color ib us ora; 
 
 Ceeciliee os Raphael atque animum explicuitP 
 
 At a later period our artist painted a small picture, which is 
 now at Bologna, in the possession of the Count Vicenzio Ercolani. 
 The subject of this work is Christ 1 enthroned amid the clouds, after 
 the manner in which Jupiter is so frequently depicted, but the Saviour 
 is surrounded by the four Evangelists, as described in the book of 
 
 1 Quatremere de Quincy declares this figure to represent not Christ, but Ezekiel 
 himself; this opinion has, however, not found advocates among such of the later writers 
 as are considered the best authority. 
 
 G 
 
42 
 
 Life of Raphael Sanzio . 
 
 Ezekiel. One in the form of a man, that is to say ; another in that 
 of a lion ; the third as an eagle; and the fourth as an ox. The 
 earth beneath exhibits a small landscape, and this work, in its minute¬ 
 ness—all the figures being very small—is no less beautiful than are 
 the others in their grandeur of extent . 1 
 
 To Verona, Raphael sent a large picture of no less excellence, for 
 the Counts of Canossa. The subject is the Nativity of Our Lord, 
 admirably treated : the day-break in particular, as here portrayed, has 
 been highly commended, and the same may be said of the figure of 
 Sant’ Anna, and indeed of the whole work, which one could not extol 
 more effectually than by the simple assertion, that it is by the hand of 
 Raphael da Urbino. The Counts hold this picture in the highest 
 estimation, as it well deserves, very great sums have been offered to 
 them for it by different princes, but they have never been prevailed 
 on to part with it . 2 
 
 For Bindo Altoviti, Raphael executed a picture of himself when 
 he (Bindo) was still young, and this work also has obtained, as it 
 merits, the highest admiration . 3 He also painted a picture of the 
 Madonna for the same person, who despatched it to Florence: this is 
 now preserved in the Palace of the Duke Cosimo : it has been placed 
 in the Chapel of the new apartments, which have been built and 
 painted by myself, where it serves as the Altar-piece: the subject is 
 
 1 This picture was doubtless painted after the St. Cecilia, as Vasari affirms ; the 
 assertion of Malvasia to the contrary is by no means well-founded, or adequately sup¬ 
 ported by evidence. The work is now in the Pitti Palace. 
 
 2 This picture was for some time supposed to have disappeared, it was then believed 
 by certain writers to have been discovered in the Palace of the Belvedere at Vienna, 
 and is now generally affirmed to be in that city; but <f in the palace of the Prince of 
 Thurm and Valdassina.” 
 
 3 The portrait of Bindo Altoviti is now in the Pinacoteca at Munich. 
 
Life of Raphael Sanzio. 43 
 
 Sant' Anna/ a woman much advanced in years, who is seated with the 
 infant Christ in her arms; she is holding him out to the Virgin, and 
 the beauty of his nude figure, with the exquisite loveliness of the coun¬ 
 tenance which the master has given to the divine Child, is such, that 
 his smile rejoices the heart of all who behold him. To Our Lady 
 also, Raphael has imparted all the beauty which can be imagined in 
 the expression of a virgin; in the eyes there is modesty, on the brow 
 there shines honour, the nose is one of very graceful character, and 
 the mouth betokens sweetness and excellence. In the vestments also, 
 there is an indescribable simplicity with an attractive modesty, which 
 I do not think could possibly be surpassed ; there cannot, indeed, be 
 anything better of its kind than is this whole work : there is a beauti¬ 
 ful figure of the little San Giovanni undraped, in this picture, with that 
 of another saint, a female, which is likewise very beautiful . 1 2 The 
 background represents a dwelling, in which there is a window partially 
 shaded, through which light is given to the chamber wherein the figures 
 are seated. 
 
 In Rome, Raphael likewise painted a figure of good size, in 
 which he represented Pope Leo, the Cardinal Giulio de’ Medici, and 
 the Cardinal de’ Rossi. The figures in this work seem rather to be 
 in full relief, and living, than merely feigned, and on a plane surface. 
 The velvet softness of the skin is rendered with the utmost fidelity ; 
 the vestments in which the Pope is clothed are also faithfully depicted. 
 
 1 This is not St. Anna, but St. Elizabeth, whose countenance, Richardson, Account 
 of Paintings , Statues , &c, declares to be very like that of a Sybil painted by Raphael 
 in the Chiesa della Pace, (Church of Peace). 
 
 2 This picture, called the Madonna delV Impannata , is now in the Pitti Palace. 
 Longhena speaks of an engraving from it by the Spanish engraver, Emanuele Esquivel, 
 and it has also been engraved by Cornelius Cort, and others. 
 
44 
 
 Life of Raphael Sanzio. 
 
 the damask shines with a glossy lustre; the furs which form the linings 
 of his robes are soft and natural, while the gold and silk are copied in 
 such a manner that they do not seem to be painted, but really appear 
 to be silk and gold. There is also a book in parchment decorated with 
 miniatures, a most vivid imitation of the object represented, with a 
 silver bell, finely chased, of which it would not be possible adequately 
 to describe the beauty. Among other accessories, there is, moreover, 
 a ball of burnished gold on the seat of the Pope, and in this—such is 
 its clearness—the divisions of the opposite window, the shoulders of 
 the Pope, and the walls of the room, are faithfully reflected; all these 
 things are executed with so much care, that I fully believe no master 
 ever has done, or ever can do anything better . 1 For this work, 
 Raphael was richly rewarded by Pope Leo. It is now in Florence, 
 in the Guardaroba of the Duke . 2 He also painted the portraits of 
 the Duke Lorenzo and of the Duke Giuliano, whom he depicted 
 with that perfection and that grace of colouring which is to be seen in 
 no other than himself. These works belong to the heirs of Ottaviano 
 de’ Medici, and are now in Florence . 3 
 
 The fame of Raphael continued to increase largely, as did the 
 rewards conferred on him; wherefore, desiring to leave a memorial 
 of himself in Rome, he caused a palace to be erected in the Borgo 
 Nuovo, which was decorated with stucco work by Bramante . 4 The 
 
 1 This picture, remarks Bottari, must have been painted between the years 1517 
 and 1519, since the Cardinal de’ Rossi received the purple in the first-mentioned year, 
 and died in the last.— Roman Edition , 1759. 
 
 2 Now in the Pitti Palace. Of the fine copy made from this work by Andrea del 
 Sarto, some mention is made by our author in his life of Andrea. 
 
 3 Of these portraits nothing absolutely certain is now known. There is a copy of 
 that of Giuliano in the Florentine Gallery, which was once believed to be by Vasari 
 himself, but it is now attributed to Alessandro Allori. 
 
 4 Raphael’s house was destroyed to make way for the Colonnade of St. Peter’s. 
 
The Madonna della Tenda. 
 
 IN THE MUNICH MUSEUM. 
 
45 
 
 Life of Raphael Sanzio. 
 
 renown of this most noble artist having been carried, by the fame of 
 these and other works, into France and Flanders, Albert Diirer, a 
 most admirable German painter, and the engraver of most beautiful 
 copperplates, sent a tribute of respect to Raphael from his own works, 
 a head, namely, which was his own portrait, executed on exceedingly 
 fine linen, which permitted the picture to appear equally on both sides, 
 the lights not produced by the use of whites, but transparent, and the 
 whole painted in water colours. This work was much admired by 
 Raphael, who sent a number of his own drawings to Albert Diirer , * 1 
 by whom they were very highly estimated. The head sent by the 
 German artist, Albert Diirer, to Raphael, was subsequently taken to 
 Mantua, among the other possessions inherited from the last named 
 master, by Giulio Romano . 2 3 
 
 Raphael having been thus made acquainted with the mode of 
 proceeding adopted in his engraving by Albert Diirer, was desirous 
 of seeing his own works treated after that manner; he therefore 
 caused Marco Antonio of Bologna, who was well practised in that 
 branch of art, to prepare numerous studies from them ; and in this 
 Antonio succeeded so well, that Raphael commissioned him to engrave 
 many of his earliest works, namely, the Slaughter of the Innocents, 
 a Last Supper, the Neptune, and the Santa Cecilia, when she is being 
 
 See Ferrario, and Giacomo de’ Rossi, Palazzi di Roma. See also Fea, Notizie intorno 
 a Rajfaello Sanzio. 
 
 1 One of these, containing two undraped figures of men, is now in the collection of 
 the Archduke Charles, at Vienna. The drawing is addressed to Albert DUrer by the 
 hand of Raphael himself, who has also inscribed the date 1515.— Ed. Flor. 1832-8. 
 The German commentator, Ludwig Schorn, adds, that the following inscription, 
 written by Albert Diirer, is also to be found thereon. “ 1515, Rafael of Urbino, who 
 is so highly esteemed by the Pope, has made this naked figure, and has sent it to Nurem¬ 
 
 berg to Albert Diirer, as a specimen of work from his hand.” 
 
 3 This portrait is now believed to be lost. 
 
4 6 
 
 Life of Raphael Sanzio. 
 
 boiled in oil . 1 Marco Antonio subsequently executed a number of 
 engravings, which were afterwards given by Raphael to II Baviera, 
 his disciple, who was the guardian of a certain lady, to whom Raphael 
 was attached till the day of his death, and of whom he painted a most 
 beautiful portrait, which might be supposed alive. This is now at 
 Florence, in the possession of the good and worthy Botti, a Floren¬ 
 tine merchant of that city , 2 who is the friend and favourer of all 
 distinguished men, but more especially of painters ; by him the work 
 is treasured as if it were a relic, for the love which he bears to the art, 
 but more especially to Raphael. Nor less friendly to artists than 
 himself is his brother Simon Botti, who, to say nothing of the fact, 
 that he is held by us all to be one of the most friendly among those 
 who benefit our arts, is to myself in particular, the best and truest 
 friend that ever the long experience of many years made dear to man : 
 he has besides given proof of very good judgment in all things 
 relating to our own art. 
 
 But to return to the copperplate engravings. The favour which 
 Raphael had shown to II Baviera was afterwards the cause which 
 induced Marco of Ravenna, and many others, to labour in that 
 branch of the art; insomuch, that what was formerly the great dearth 
 of engravings on copper, became eventually that large supply of them 
 which we now find, Hugo da Carpi, moreover, whose fine powers 
 of invention were turned to the discovery of many ingenious and 
 fanciful devices, found out that of carving in wood, in which, by 
 
 1 This is not St. Cecilia boiled in oil, but the martyrdom of Santa Felicitas and 
 her sons.— Bottari. For the legend of this saint, the reader is referred to Mrs. 
 Jameson, Sacred and Legendary Art , vol. ii. p. 266, et seq. See also Richa, Chiese 
 Florentine, vol. ix. 
 
 2 Still in Florence, in the Tribune of the Uffizj, according to Masselli, but according 
 to Schorn it has been removed to the Pitti Palace. 
 
Life of Raphael Sanzio. 47 
 
 means of three blocks, the light, shadow, and middle tint can equally 
 be given, and drawings in chiaro-scuro imitated exactly. Without 
 doubt a very beautiful and fanciful invention , 1 which has since been 
 largely extended. 
 
 For the Monks of Monte Oliveto, Raphael executed a picture of 
 Christ Bearing his Cross, to be placed in their Monastery at Palermo, 
 called Santa Mario dello Spasmo; this is considered to be a most 
 admirable work, and is remarkable, among other characteristics, for the 
 force with which the master has rendered the cruelty of the execu¬ 
 tioners, who are dragging the Redeemer to his death on Mount 
 Calvary, with all the evidences of a furious rage. The Saviour him¬ 
 self, grievously oppressed by the torment of the death towards which 
 he is approaching, and borne down by the weight of the Cross, has 
 fallen to the earth faint with heat and covered with blood; he turns 
 towards the Maries who are weeping bitterly. Santa Veronica is also 
 among those who surround him, and, full of compassion, she extends 
 her arms towards the Sufferer, to whom she presents a handkerchief 
 with an expression of the deepest sympathy. There are besides vast 
 numbers of armed men on horseback and on foot, who are seen pour¬ 
 ing forth from the Gate of Jerusalem, bearing the ensigns of justice 
 in their hands, and all in attitudes of great and varied beauty. 
 
 This picture was entirely finished, but had not yet been fixed in 
 its place, when it was in great danger and on the point of coming to 
 an unhappy end. The matter was on this wise : The painting, ac¬ 
 cording to what I have heard related, was shipped to be taken to 
 Palermo, but a frightful tempest arose which drove the vessel on a 
 
 1 It is now well known that Lucas Cranach, Hans Griin, and other German 
 engravers, practised the art of wood-engraving long before the time of Hugo da 
 Carpi. 
 
4 8 
 
 Life of Raphael Sanzio. 
 
 rock, where it was beaten to pieces, men and merchandize being lost 
 together, this picture alone excepted, which, secured in its packings, 
 was carried by the sea into the Gulf of Genoa. Here it was picked 
 up and borne to land, when, being seen to be so beautiful a thing, it 
 was placed in due keeping, having maintained itself unhurt and with¬ 
 out spot or blemish of any kind; for even the fury of the winds and 
 the waves of the sea had had respect to the beauty of so noble a work. 
 The fame of this event was bruited abroad, and the Monks, to whom 
 the picture belonged, took measures to obtain its restoration: in this 
 they eventually succeeded, though not without great difficulty and 
 only by aid of the Pope, when they largely rewarded those who had 
 effected its recovery from the waves . 1 Being then embarked anew, 
 the picture was ultimately landed in Sicily ; the Monks then deposited 
 the work in the city of Palermo, where it has more reputation than 
 the Mount of Vulcan itself . 2 
 
 While Raphael was thus engaged with the works above described, 
 which he could not decline doing, partly because commissioned to 
 execute them by great and important personages, but partly, also, 
 because a due regard for his interest would not permit him to refuse 
 them,—while thus occupied, I say, he did not on that account neglect 
 to continue the works which he had commenced in the Papal Halls 
 and Chambers ; on the contrary, he kept people constantly employed 
 therein, and by them the work was continued from drawings made by 
 his own hand, every part being minutely superintended by himself, and 
 
 1 This much celebrated picture, called Lo Spasimo di Sicilia , was taken to Paris, 
 where it was transferred from the panel to canvas; it is now in the Royal Gallery of 
 Madrid. The figure of St. Veronica is not in the picture. Vasari described it from 
 memory, and is in error on this point. 
 
 2 Our author is here following the old poets, who make Mount Etna the abode of 
 Vulcan and the site of his forge. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Christ Bearing His Cross. 
 
 IN THE MADRID MUSEUM 
 

49 
 
 Life of Raphael Sanzio. 
 
 the more important portions of the whole executed by him, so far as 
 was possible in a work of such magnitude. No long time elapsed, 
 therefore, before he gave to view the apartment of the Torre Borgia , 
 on every wall of which he had placed a painting—two over the win¬ 
 dows namely, and two on the sides wherein there are no windows. In 
 one of these pictures the master has depicted the Conflagration of the 
 Borgo Vecchio of Rome, which could not be extinguished until Pope 
 Leo IV. presented himself at the Loggia of the Palace, and ex¬ 
 tinguished it entirely by the power of his benediction. In this work 
 is the representation of many perilous incidents ; on one side are 
 women bearing vases of water on their heads and in their hands where¬ 
 with to extinguish the flames; the hair and clothing of these figures 
 are blown about by the fury of a tempestuous wind ; others, who are 
 attempting to throw water on the burning masses, are blinded by the 
 smoke, and appear to be in a state of bewilderment. At another part 
 of the picture is a group, resembling that described by Virgil, of 
 Anchises borne out of danger by ^Eneas. An old man being sick, is 
 exhausted by his infirmity and the heat of the fire, and is carried by a 
 youth in whose form the determination and power to save are mani¬ 
 fest, as is the effort made by every member to support the dead 
 weight of the old man helplessly hanging in utter abandonment upon 
 his back. He is followed by an old woman bare-foot and with 
 loosened garments, who is rushing in haste from the fire—a naked 
 child goes before them. From the top of a ruined building also is 
 seen a woman naked and with dishevelled hair, who has an infant in 
 her hands which she is about to throw down to one of her family ; 
 just escaped from the flames, the last-mentioned person stands in the 
 road below raised on the points of his feet and stretching forth his 
 arms to receive the child—an infant in swathing-bands, which the 
 woman holds out to him: and here the anxious eagerness of the 
 
 H 
 
5° 
 
 Life of Raphael Sanzio. 
 
 mother to save her child is no less truthfully expressed than is the 
 suffering which she is herself enduring from the devouring flames, 
 glowing around and threatening to destroy her. In the figure of the 
 man who is receiving the child also there is as clearly to be perceived 
 the anxiety which he suffers in his desire to rescue it, with the fear he 
 entertains for his own life. Equally remarkable is the power of 
 imagination displayed by this most ingenious and most admirable 
 artist in a mother, who, driving her children before her, with bare feet, 
 loosened vestments, girdle unbound, and hair dishevelled, bears a part 
 of her clothing in her hands, and smites her children to hasten their 
 flight from the falling ruins and from the scorching fury of the flames. 
 There are besides other women, who, kneeling before the Pope, 
 appear to be entreating that his Holiness will cause the fire to be 
 staid . 1 
 
 The second picture also represents an incident from the life of 
 Pope Leo IV: here the master has depicted the Port of Ostia occu¬ 
 pied by the fleet of the Turks, who had come to make his Holiness 
 prisoner. On the sea without are seen the Christians engaged in com¬ 
 bat with the Turkish Armada, and numerous prisoners are already 
 observed to be entering the harbour; the latter are seen to issue from 
 a boat whence they are dragged by soldiers, the attitudes and coun¬ 
 tenances of whom are exceedingly spirited and beautiful. The 
 prisoners are clothed in a variety of vestments proper to seamen, and 
 are led before St. Leo, whose figure is a portrait of the then reigning 
 Pontiff, Leo X. His Holiness, who is in full pontificals, is enthroned 
 between the Cardinal of Santa Maria-in-Portico, Bernardo Divizio da 
 Ribbiena namely, and Cardinal Giulio de’ Medici, who was afterwards 
 
 1 For various details respecting this work, which is that wherein Raphael did the 
 most with his own hand, those succeeding being for the most part by his scholars, see 
 Passavant, vol. i. p. 261, vol. ii. p. 193. 
 
The Madonna del Passeggio. 
 
 IN THE BRIDGEWATER GALLERY 
 
Life of Raphael Sanzio. 51 
 
 Pope Clement VII. It would not be possible minutely to describe 
 the admirable thought with which this most inventive artist has 
 depicted the countenances of the prisoners, in whose expression all 
 necessity for speech is superseded, so eloquently does it set forth their 
 grief, their terror, and the bitter foretaste which they are enduring of 
 the death preparing for them . 1 
 
 In the other two pictures is first Leo X. consecrating the most 
 Christian King , 2 Francis I. of France. He is chanting the mass 
 robed in full pontificals, and is blessing the oils wherewith to anoint 
 the monarch at the same time that he likewise blesses the royal crown ; 
 a vast body of Cardinals and Bishops, also in their episcopal robes, are 
 serving the mass, and there are, moreover, numerous ambassadors and 
 other personages portrayed from nature, with several figures dressed 
 in the French manner of that period. The second picture represents 
 the Coronation of the above-named king , 3 and here the Pope and 
 Francis are both drawn from the life, the king in armour, the Pope 
 in his pontifical robes; the College of Cardinals, a large number of 
 Bishops, chamberlains, shield-bearers, and grooms of the chamber, all 
 in their appropriate robes and dresses of ceremony, are placed in their 
 due position and proper order as is usual in the papal chapel. Among 
 
 1 This picture has suffered more than the others ; it is said to have been executed 
 principally by Guadenzio da Ferrara, but re-touched by Sebastiano del Piombo, who 
 received a sharp reproof from Titian for his pains.—Passavant, ut supra . 
 
 2 The Coronation is that of Charlemagne, by Leo III, but the figure of the em¬ 
 peror is a portrait of Francis I, as that of the pontiff is of Pope Leo X. The work has 
 been engraved by Aquila. 
 
 3 Here also Vasari is in error as to the subject, which is generally called the Justi¬ 
 fication of Leo III, that Pontiff taking an oath on the Gospels, and in the presence of 
 Charlemagne, that he is not guilty in the matter of the charges brought against him by 
 the nephew of Adrian I. The picture, according to Paesavant, was executed by the 
 scholars of Raphael. 
 
52 
 
 Life of Raphael Sanzio. 
 
 them are many portraits from the life, as, for example, that of Gian- 
 nozzo Pandolfini, Bishop of Troy, and the most intimate friend of 
 Raphael, with those of many other persons holding eminent positions 
 at that time. Near the King is a boy kneeling, who bears the crown 
 in his hands; this is the portrait of Ippolito de’ Medici, who was 
 afterwards a Cardinal and became Vice-Chancellor—a highly esteemed 
 prelate, and the firm friend, not of these arts only, but of all others— 
 one too, whose memory I am myself bound to hold in the most 
 grateful respect, and do indeed acknowledge myself deeply obliged to 
 him, since my own commencement in art, such as it may have 
 been, had its origin with that noble prelate. 
 
 To describe all the minute particulars of Raphael's works, wherein 
 every object seems to be eloquently speaking in its silence, would not 
 be possible; I must yet not omit to mention that beneath each of the 
 pictures above described is represented a socle or basement, wherein 
 are depicted the figures of various benefactors and defenders of the 
 church, separated from each other by terminal figures of various 
 character , 1 but all executed in such a manner that every part gives 
 evidence of the utmost thought and care ; all are full of spirit, with 
 a propriety and harmony of colour that could not possibly be better. 
 The ceiling of this apartment had been painted by Pietro Perugino, 
 Raphael’s master, and this the latter, from respect to his memory and 
 from the affection that he bore him, would not destroy, seeing that by 
 
 1 These termini are in chiaro-scuro of a yellow colour, they were partly drawn as 
 well as executed, according to some authorities, by Giulio Romano. See Passavant, ut 
 supra. Bottari, in the Roman edition, affirms them to have been so much injured by 
 time as to have required almost entirely repainting, which, he further informs us, and 
 is herein followed by all later commentators, was done in a very masterly manner by 
 Carlo Maratta. 
 
Life of Raphael Sanzio . 53 
 
 his instruction it was that Raphael himself was first conducted to the 
 path which had led him to so high a position in art. 
 
 So comprehensive and extended were the views of Raphael in all 
 things relating to his works, that he kept designers employed in all 
 parts of Italy, at Puzzuolo, and even in Greece, to the end that he 
 might want nothing of that which appertained to his art; and for this 
 he spared neither labour nor cost. 
 
 Pursuing his works in the Vatican, Raphael decorated one of the 
 halls in terretta , 1 depicting several of the Apostles and numerous 
 Saints , 2 whom he has represented standing in niches or tabernacles . 3 
 There also he caused his disciple Giovanni da Udine, who had not his 
 equal in the delineation of animals, to paint all those then in the pos¬ 
 session of Pope Leo X; the chameleon, for example, the civet cat, 
 the apes, the parrots, the lions* the elephants , 4 and other animals from 
 distant lands. He also adorned many of the floors and other parts 
 of the palace with grottesche and other embellishments; and gave the 
 
 1 Terretta , otherwise called Terra di Cava , or, as by Baldinucci, Terra da Boccali. 
 “ The earth or clay used in making earthenware for the service of the table, and which, 
 being mixed with powdered charcoal, was employed for making grounds, for painting 
 cbiari-scuri , and even for the tints. It is found in Rome, near St. Peter’s and at Monte 
 Spertoli, thirteen miles from Florence, and appears to resemble what in England is 
 called ‘China clay.’”—From a note to the Ancient Treatises on the Arts of Painting , 
 admirably translated, with valuable notes, by Mrs. Merrifield. See the Volpato Manu¬ 
 script. 
 
 2 Christ and the twelve apostles rather.— L. Schom. 
 
 3 These works were nearly destroyed by Pope Pius IV, who changed the Hall 
 into a series of smaller chambers, but when its original form was restored to the apart¬ 
 ment by Gregory XIII, that pontiff caused all then remaining to be restored by Taddeo 
 Zucchero. The figures of Christ and his Apostles are best known to us through the 
 engravings of Marco Antonio. 
 
 4 Leo X. had received the present of an elephant from the King of Portugal, and 
 had its portrait taken, in compliment to the Roman people, to whom the animal had 
 furnished much amusement.— Ed. Flor 1832-8. 
 
54 
 
 Life of Raphael Sanzio. 
 
 design for certain of the staircases, as well as for the loggie com¬ 
 menced by the architect Bramante, but which remained incomplete at 
 the death of that master, when they were continued after a new 
 design, and with many changes in the architecture, by Raphael him¬ 
 self, who prepared a model in wood, the arrangement and decoration 
 of which were richer and more beautiful than that proposed by Bra- 
 mante. 
 
 Pope Leo, desiring to show the greatness of his magnificence and 
 generosity, caused Raphael to make designs for the ornaments in 
 stucco, which he had resolved to have placed between the paintings 1 
 executed in the loggie, as well as for those in other parts; and as 
 superintendent of all thes z grottesche in stucco, he appointed Giovanni 
 da Udine, Giulio Romano being commissioned to prepare the figures; 
 but the latter did not work at them to any great extent. The Pon¬ 
 tiff also commissioned Giovanni Francesco , 2 II Bologna , 3 Perino del 
 Vaga, Pellegrino da Modena, Vicenzio of San Gimignano, and Poli- 
 doro da Caravaggio, with many other artists, to execute historical 
 pictures, separate figures, and many other portions of the works, all 
 which Raphael caused to be completed with so much care, that he 
 even suffered the pavement to be procured in Florence from Luca 
 della Robbia , 4 inasmuch that, whether for the paintings, the stucco 
 work, the architecture or other beautiful inventions, a more admirable 
 performance could not be executed, nay, could scarcely be imagined; 
 
 1 Forty-eight subjects from the Old Testament namely, and four from the New, 
 known as “The Bible of Raphael.” He surrounded them with mythological represen¬ 
 tations, giving the designs of all himself. See Passavant, vols. i. and ii. 
 
 2 Giovanni Francesco Penni, called II Fattore. 
 
 3 Bartolommeo Ramenghi, called, from his birthplace, II Bagnacavello. 
 
 4 Not from Luca della Robbia, who was then dead, but from his nephew Andrea. 
 — Ed. Flor. 1832-8. 
 

The Holy Family, the Pearl. 
 
 IN THE MADRID MUSEUM. 
 
55 
 
 Life of Raphael Sanzio . 
 
 its perfection was indeed the cause of Raphael’s receiving the charge 
 of all the works in painting and architecture that were to be executed 
 in the palace. 
 
 It is said that Raphael was so courteous and obliging, that for the 
 convenience of certain among his friends, he commanded the masons 
 not to build the walls in a firm uninterrupted range, but to leave 
 certain spaces and apertures among the old chambers on the lower 
 floors, to the end that they might store casks, pipes, firewood, &c. 
 therein ; but these hollows and spaces weakened the base of the walls, 
 so that it has since become needful to fill them in, seeing that the 
 whole work began to show cracks and other signs of deterioration. 
 For all the doors, wainscots, and other portions ornamented in wood¬ 
 work, Raphael caused fine carvings to be prepared, and these were 
 executed and finished in a very graceful manner by Gian Barile . 1 
 
 The architectural designs for the Vigna 2 of the Pope and for 
 several houses in the Borgo , 3 but more particularly for the palace of 
 Messer Giovanni Battista dalP Aquila, which was a very beautiful 
 edifice, were likewise prepared by Raphael. He also designed one 
 for the Bishop of Troia, who caused him to construct it in the Via di 
 San Gallo at Florence . 4 
 
 For the Black Friars of San Sisto in Piacenza, Raphael painted a 
 picture, intended to form the altar-piece for the high altar of their 
 
 1 For details respecting this celebrated carver in wood, see Della Valle, Lettere 
 Sane si. 
 
 2 Vasari here means the Villa on Monte Mario, commenced by Raphael, for the 
 Cardinal Giulio de’ Medici, afterwards Pope Clement VII, but finished by Giulio 
 Romano, after designs of his own, which were different in many respects from those 
 of Raphael. 
 
 3 Destroyed to make way for the Colonnade of San Pietro. 
 
 4 Now the property of the Nencini family.— Ed. Flor. 1838. 
 
5 6 
 
 Life of Raphael Sanzio. 
 
 church, the subject of this work is the Virgin with St. Sixtus and 
 Santa Barbara, a truly admirable production . 1 Raphael painted many 
 pictures to be sent into France, but more particularly one for the 
 king, St. Michael namely, in combat with the Arch-fiend; this also 
 is considered singularly beautiful, a rock, whence flames are issuing, 
 represents the centre of the earth, and from the clefts of this rock 
 fires and sulphurous flames are proceeding, while Lucifer, whose 
 limbs, scorched and burning, are depicted of various tints, exhibits 
 every emotion of rage that pride, envenomed and inflated, can awaken 
 against the Oppressor of his greatness, by whom he is deprived of 
 his kingdom, and at whose hands he may never hope for peace, but 
 is certain to receive heavy and perpetually enduring punishment. In 
 direct contrast with this figure is that of the Archangel San Michele; 
 his countenance is adorned with celestial beauty, he wears armour 
 formed of iron and gold, fearlessness, force, and terror are in his 
 aspect, he has cast Lucifer to the earth, and compels him to lie prone 
 beneath his uplifted spear; the work was performed in so admirable a 
 manner at all points, that Raphael obtained, as he had well merited, a 
 large and honourable reward for it from the king . 2 This master also 
 painted the portrait of Beatrice of Ferrara , 3 with those of other ladies ; 
 that of his own inamorata is more particularly to be specified, but he also 
 
 1 This work was purchased by Augustus III, King of Poland, for 22,000 crowns, 
 and is now in the Dresden Gallery. Rumohr is of opinion that this picture was 
 originally intended, not for an altar-piece, but to be borne in procession, since it is not 
 on panel, as Vasari’s “tavola” might imply, but on canvas. The work has been 
 engraved by Muller. 
 
 2 Now in the Louvre. Engraved by Edelinck and others. 
 
 3 Passavant is of opinion that the well-known picture in the Tribune of the Uffizj, 
 hitherto called the Fornarina, is the portrait of Beatrice of Ferrara, who was not, as he 
 further informs us, a royal personage, but may rather be conjectured to have been an 
 improvisatrice. 
 

 

 The Madonna di San Sisto. 
 
 IN THE DRESDEN GALLERY. 
 
57 
 
 Life of Raphael Sanzio. 
 
 executed many others . 1 He was much disposed to the gentler affec¬ 
 tions and delighted in the society of woman, for whom he was ever 
 ready to perform acts of service. But he also permitted himself to 
 be devoted somewhat too earnestly to the pleasures of life, and in this 
 respect was perhaps more than duly considered and indulged by his 
 friends and admirers. We find it related that his intimate friend, 
 Agostino Chigi, had commissioned him to paint the first floor of his 
 palace , 2 but Raphael was at that time so much occupied with the love 
 which he bore to the lady of his choice, that he could not give suffi¬ 
 cient attention to the work. Agostino, therefore, falling at length into 
 despair of seeing it finished, made so many efforts by means of friends 
 and by his own care, that after much difficulty he at length prevailed 
 on the lady to take up her abode in his house, where she was accord¬ 
 ingly installed in apartments near those which Raphael was painting; 
 in this manner the work was ultimately brought to a conclusion . 3 
 
 For these pictures Raphael prepared all the cartoons, painting 
 many of the figures also with his own hand in fresco . 4 On the 
 ceiling he represented the council of the Gods in heaven, and in the 
 forms of these deities many of the outlines and lineaments may be 
 perceived to be from the antique, as are various portions of the 
 draperies and vestments, the whole admirably drawn and exhibiting 
 
 1 Among these portraits was that of the celebrated beauty, Joanna of Aragon, now 
 also in the Louvre, and engraved by Morghen. Respecting these and other female 
 portraits by Raphael, see Passavant, ut supra. 
 
 2 That on the Lungara namely, now called the Farnesina, and which has for many 
 years been the property of the King of Naples. 
 
 3 Longhena, Storia , &c. will not admit the truth of this anecdote, which is denied 
 by Passavant also. For details respecting the paintings see the last named writer, with 
 Pungileoni, Elogio Storico. See also Fea, Notizie , &c. 
 
 4 According to the best authorities but little of these works was executed by Raphael 
 himself. See Passavant. See also Rumohr, Longhena, and Pungileoni. 
 
 1 
 
5 « 
 
 Life of Raphael Sanzio, 
 
 the most perfect grace. In a manner equally beautiful, Raphael 
 further depicted the Marriage of Psyche, with the attendants 
 ministering to Jupiter, and the Graces scattering flowers. In the 
 angles of the ceiling also he executed other stories, representing in 
 one of them a figure of Mercury with his flute; the god in his 
 graceful movements appears really to be descending from heaven: in 
 a second is the figure of Jupiter depicted with an aspect of the most 
 sublime dignity, near him is Ganymede, whom with celestial gravity 
 he is caressing, and on the remaining angles are other mythological 
 representations. Lower down is the chariot of Venus, wherein 
 Pysche is borne to heaven in a car which is drawn by the Graces, 
 who are aided by Mercury. In those compartments of the vaulting 
 which are above the arches and between the angles, are figures of 
 boys most beautifully foreshortened, they are hovering in the air and 
 bear the various attributes proper to the different deities ; one has 
 the thunderbolts of Jove for example, others bear the helmet, sword, 
 and shield of Mars, or the hammers of Vulcan, some are laden with 
 the club and lion-skin of Hercules, one carries the caduceus of 
 Mercury, another the pipe of Pan, while others again have the agri¬ 
 cultural implements of Vertumnus: all are accompanied by the 
 animals appropriate to their various offices, and the whole work, 
 whether as painting or poetry, is of a truth eminently beautiful . 1 All 
 these representations Raphael further caused Giovanni da Udine 
 to surround with a bordering of flowers, fruits, and foliage in the 
 richest variety, disposed in festoons, and all as beautiful as it is 
 possible that works of the kind can be. 
 
 This master likewise gave a design for the stables of the Chigi 
 
 1 The pictures of the Farnesina were restored by Carlo Maratta.—-iiV. Flor. 1832-8. 
 See Bellori, Della Reparazione, &c. 
 
59 
 
 Life of Raphael Sanzio. 
 
 Palace, with that for the chapel belonging to the same Agostino 
 Chigi in the Church of Santa Maria del Popolo, this he painted also , 1 
 and furthermore made preparations for the construction of a magnifi¬ 
 cent sepulchral monument, for which he caused the Florentine 
 sculptor Lorenzetto to execute two figures , 2 these are still in his 
 house situate in the Macello de Corvi in Rome . 3 But the death of 
 Raphael, and afterwards that of Agostino , 4 caused the execution of 
 the sepulchre to be made over to Sebastiano Viniziano . 5 
 
 Raphael had now attained to such high repute, that Leo X. 
 commanded him to commence the painting of the great hall on the 
 upper floor of the Papal Palace, that namely wherein the victories of 
 Constantine are delineated, and this work he accordingly began . 6 
 The Pope also desired to have certain very rich tapestries in silk and 
 gold prepared, whereupon Raphael made ready the Cartoons, which 
 
 1 According to the Italian commentators, Raphael made the cartoons for this 
 chapel, but did not execute them. The Mosaic is said to be by the Venetian, Luigi da 
 Pace, called Maestro Luisaccio. The whole work has been finely engraved by Gruner, 
 Rome, 1840. 
 
 2 They represent the Prophets Elisha and Jonas: the last said to have been 
 modelled by Raphael himself. 
 
 3 They are now placed in the Chapel, with two other figures by Bernini, the 
 latter representing the prophets Daniel and Habakkuk. 
 
 4 Agostino Chigi died a few days after the death of Raphael himself, on the 10th 
 of April namely, 1520. 
 
 5 Sebastiano Luciani, better known among ourselves as Sebastiano del Piombo, so 
 called from the office of signet (piombo) bearer, which he held under Clement VII. 
 
 6 He made the design for the general arrangement, that is to say, with the cartoons 
 for the Speech of Constantine to his soldiers, that for the battle and those for the 
 allegorical figures of Justice and Clemency. These last he caused Giulio Romano and 
 Francesco Penni to paint in oil, on the wall, by way of specimen; the remainder were 
 executed by his disciples after his death. For details respecting these works, see 
 Passavant and the many other authorities above cited. 
 
6 o 
 
 Life of Raphael Sanzio. 
 
 he coloured also with his own hand, giving them the exact form and 
 size required for the tapestries. These were then despatched to 
 Flanders to be woven, and when the cloths were finished they were 
 sent to Rome. 1 This work was so admirably executed that it 
 awakened astonishment in all who beheld it, as it still continues to 
 do; for the spectator finds it difficult to conceive how it has been 
 found possible to have produced such hair and beards by weaving, or 
 to have given so much softness to the flesh by means of thread, a 
 work which seems rather to have been performed by miracle than by 
 the art of man, seeing that we have here animals, buildings, water, 
 and innumerable objects of various kinds, all so well done that they 
 do not look like a mere texture woven in the loom, but like paintings 
 executed with the pencil. 2 This work cost 70,000 crowns, and is 
 still preserved in the Papal chapel. 3 
 
 For the Cardinal Colonna, Raphael painted a San Giovanni on 
 canvas, which was an admirable work and greatly prized for its beauty 
 by the cardinal, but the latter being attacked by a dangerous illness, 
 and having been cured of his infirmity by the physician Messer 
 Jacopo da Carpi, the latter desired to be presented with the picture 
 of Raphael as his reward; the cardinal therefore, seeing his great 
 wish for the same, and believing himself to be under infinite obliga¬ 
 tion to his physician, deprived himself of the work, and gave it to 
 
 1 The tapestries were sent to Rome, but the cartoons were not returned. Seven of 
 the latter, of which there were originally ten, are now, as our readers are aware, at the 
 South Kensington Museum ; of the remaining three, certain fragments only now exist. 
 
 2 These tapestries, ten in number, were designed by Pope Leo X. for the lower 
 part of the wall of the Sistine chapel, and there Raphael a short time before his death, 
 on the 26th December, 1519, that is to say, had the happiness of seeing them suspended, 
 and of beholding all Rome regarding them with delight and admiration. 
 
 3 The tapestries made after Raphael’s designs were carried off in the sack of Rome 
 by the Constable Bourbon, but were restored during the pontificate of Julius III. 
 
IN SOUTH KENSINGTON MUSEUM. 
 

 
 
 
Life of Raphael Sanzio. 61 
 
 Messer Jacopo. It is now at Florence in the possession of Francesco 
 Benintendi. 1 
 
 Raphael also painted a picture for the Cardinal and Vice-chancellor 
 Giulio de’ Medici, 2 a Transfiguration namely, which was destined to 
 be sent into France. This he executed with his own hand, and 
 labouring at it continually, he brought it to the highest perfection, 
 depicting the Saviour transfigured on Mount Tabor, with eleven of 
 the disciples awaiting him at the foot of the Mount. To these is 
 meanwhile brought a youth possessed of a spirit, who is also awaiting 
 the descent of Christ, by whom he is to be liberated from the demon. 3 
 The possessed youth is shown in a distorted attitude stretching forth 
 his limbs, crying, rolling his eyes, and exhibiting in every movement 
 the suffering he endures ; the flesh, the veins, the pulses, are all seen 
 to be contaminated by the malignity of the spirit, the terror and pain 
 of the possessed being rendered further manifest by his pallid colour 
 and writhing gestures. The figure is supported by an old man in 
 whose widely open eyes the light is reflected, he is embracing and 
 seeking to comfort the afflicted boy, his knitted brow and the 
 expression of his face show at once the apprehension he feels, and 
 the force with which he is labouring to combat his fears ; he looks 
 fixedly at the apostles as if hoping to derive courage and consolation 
 from their aspect. There is one woman among others in this picture 
 who is the principal figure therein, and who, kneeling before the two 
 
 1 This work has long adorned the Tribune of the Florentine Gallery of the Uffizj. 
 In the collection of the same gallery is the sketch for it in red chalk. For details 
 respecting the numerous copies made from this picture, see Passavant, vol. ii. p. 355. 
 
 2 Afterwards Pope Clement VII. 
 
 3 For this work Raphael was to receive 655 ducats; 224 of which remaining 
 unpaid at his death, were then made over to his heir, Giulio Romano, who probably 
 worked with him at this picture.— Ed. F/or. 1832-8. 
 
62 
 
 Life of Raphael Sanzio. 
 
 just described, turns her head towards the apostles, and seems by the 
 movement of her arms in the direction of the possessed youth, to be 
 pointing out his misery to their attention. The Apostles also, some 
 of whom are standing, some seated, and others kneeling, give 
 evidence of the deep compassion they feel for that great misfortune. 
 
 In this work the master has of a truth produced figures and heads 
 of such extraordinary beauty, so new, so varied, and at all points so 
 admirable, that among the many works executed by his hand, this, by 
 the common consent of all artists, is declared to be the most worthily 
 renowned, the most excellent, the most divine. Whoever shall desire 
 to see in what manner Christ transformed into the Godhead should 
 be represented, let him come and behold it in this picture. The 
 Saviour is shown floating over the mount in the clear air ; the figure, 
 foreshortened, is between those of Moses and Elias, who, illumined 
 by his radiance, awaken into life beneath the splendour of the light. 
 Prostrate on the earth are Peter, James, and John, in attitudes of 
 great and varied beauty, one has his head bent entirely to the ground, 
 another defends himself with his hands from the brightness of that 
 immense light, which proceeds from the splendour of Christ, who is 
 clothed in vestments of snowy whiteness, his arms thrown open and 
 the head raised towards heaven, while the essence and Godhead of all 
 the three persons united in himself, are made apparent in their utmost 
 perfection by the divine art of Raphael. 
 
 But as if that sublime genius had gathered all the force of his 
 powers into one effort, whereby the glory and majesty of art should 
 be made manifest in the countenance of Christ; having completed 
 that, as one who had finished the great work which he had to accom¬ 
 plish, he touched the pencils no more, being shortly afterwards over¬ 
 taken by death . 1 
 
 1 Few readers will require to be reminded that the glorious Transfiguration of 
 
The Transfiguration. 
 
 IN THE VATICAN, ROME. 
 
Life of Raphael Sanzio. 63 
 
 Having now described the works of this most excellent artist, I 
 will not permit myself to consider it a labour to say somewhat for the 
 benefit of those who practise our calling, respecting the manner of 
 Raphael, before proceeding to the relation of such particulars as 
 remain to be specified in regard to other circumstances of his life, and 
 to those which relate to his death. In his childhood he had imitated 
 the manner of his master, Pietro Perugino, but had greatly amelio¬ 
 rated the same, whether as regarded design, colouring, or invention: 
 having done this, it then appeared to him that he had done enough, 
 but when he had attained to a riper age he perceived clearly that he 
 was still too far from the truth of nature. On becoming acquainted 
 with the works of Leonardo da Vinci, who in the expression which 
 he gave to his heads, whether male or female, had no equal, and who 
 surpassed all other painters in the grace and movement which he 
 imparted to his figures; seeing these works, I say, Raphael stood 
 confounded in astonishment and admiration : the manner of Leonardo 
 pleased him more than any other that he had ever seen, and he set 
 
 Raphael is now in the Vatican. It was taken, with other works, to Paris in 1797, 
 and was there cleaned, having become almost indistinguishable. “The painter,” 
 remarks the German annotator, Schorn, “had succeeded in expressing the light eman¬ 
 ating from the person of Christ, and illuminating those beneath, by a masterly use of 
 chiaro-scuro, but the lampblack having been affected by the lapse of time, much of the 
 original beauty of the work is lost. The head of the Apostle Andrew, the figure of the 
 kneeling maiden, and other parts, still remain, nevertheless, to give a fair idea of what 
 the whole has been.” For minute details respecting this work, see Fiorillo, Gescbichte 
 der Malerei in It alien. Marco di Figuera, Ex amen Analitico del Quadro de la Trans- 
 figuracion. Constantin, Idees Italiennes sur quelques Tableaux celebres , Florence , 1840 ; 
 and Rumohr, Italienesche Forscbungen. See also Richardson, Account of Statues , 
 Paintings , &c. London, 1722 ; Duppa, London, 1816; with many other writers, who 
 have treated this subject with more or less ability, A very fine drawing made for the 
 engraving of this work is now at South Kensington, removed from Hampton Court. 
 See the Catalogue of tbe Soutb Kensington Museum , and an article in a recent number 
 of the Atbenaum on the Cartoons, &c. 
 
64 
 
 Life of Raphael Sanzio. 
 
 himself zealously to the study thereof with the utmost zeal; by de¬ 
 grees therefore, abandoning, though not without great difficulty, the 
 manner of Pietro Perugino, he endeavoured as much as was possible 
 to imitate that of Leonardo. But whatever pains he took, and in 
 spite of all his most careful endeavours, there were some points and 
 certain difficulties of art in which he could never surpass the last 
 named master . 1 Many are without doubt of opinion that Raphael 
 surpassed Leonardo in tenderness and in a certain natural facility, but 
 he was assuredly by no means superior in respect of that force of 
 conception and grandeur which is so noble a foundation in art, and 
 in which few masters have proved themselves equal to Leonardo: 
 Raphael has nevertheless approached him more nearly than any other 
 painter, more particularly in the graces of colouring. 
 
 But to speak more exclusively of Raphael himself: in the course of 
 time he found a very serious impediment, in that manner which he had 
 acquired from Pietro in his youth , 2 and which he had at the first so 
 readily adopted: dry, minute, and defective in design, he could not 
 completely divest himself of all recollection thereof, and this caused 
 him to find the utmost difficulty in learning to treat worthily the 
 beauties of the nude form, and to master the methods of those difficult 
 foreshortenings which Michael Angelo Buonarotti executed in his 
 Cartoon, for the Hall of the Council in Florence. Now any artist. 
 
 1 An Italian commentator here remarks, that, notwithstanding the marvellous genius 
 of Leonardo, he was exceedingly whimsical, and frequently sought the difficult as well 
 as the good. Raphael looked only to the perfection of his work, and if simple means 
 sufficed to produce that, with these means he contented himself. “It may, therefore, 
 be fairly inquired/’ continues our writer, “whether in these ‘difficulties’ of Vasari, 
 Raphael could not, or whether it was that he would not, surpass Leonardo.” This is a 
 question which we leave our readers to determine. 
 
 2 The Cavalier Tommaso Puccini, in a MS. note to Vasari, remarks, that on this 
 point he “cannot agree with the biographer, since it is certain that to Pietro we owe 
 half the success of Raphael Sanzio.”— Ed. Flor. 1832-8. 
 
65 
 
 Life of Raphael Sanzio. 
 
 who might have lost courage from believing that he had been pre¬ 
 viously throwing away his time, would never, however fine his genius, 
 have accomplished what Raphael afterwards effected: for the latter, 
 having so to speak, cured and altogether divested himself of the 
 manner of Pietro, the better to acquire that of Michael Angelo, 
 which was full of difficulties in every part; may be said, from a master 
 to have almost become again a disciple, and compelled himself by 
 incredible labours to effect that in a few months, now that he was 
 become a man, which even in his youthful days, and at the time when 
 all things are most easily acquired, would have demanded a period of 
 many years for its attainment . 1 It is by no means to be denied, that 
 he who is not early imbued with just principles, or who has not 
 entered from the first on that manner which he can be content to 
 pursue, and who does not gradually obtain facility in the difficulties 
 of the art, by means of experience (seeking fully to comprehend every 
 part and to confirm himself by practice in the knowledge of all), will 
 scarcely ever attain to perfection; or if he do attain it, must do so at 
 the cost of much longer time and greatly increased labour. 
 
 At the time when Raphael determined to change and ameliorate 
 his manner, he had never given his attention to the nude form, with 
 that degree of care and study which the subject demands, having 
 drawn it from the life only after the manner which he had seen prac¬ 
 tised by Pietro his master, adding nevertheless to all that he did, that 
 grace which had been imparted to him by nature. But he thence¬ 
 forth devoted himself to the anatomical study of the nude figure, and 
 to the investigation of the muscles in dead and excoriated bodies as 
 
 1 “The works of Raphael in Florence,” remarks the German annotator, Ludwig 
 Schorn, “bear no trace of influence exercised on his manner by the cartoons of Michael 
 Angelo, while they show many of that exercised by the works of Fra Bartolommeo, 
 and by the earnest manner of Leonardo da Vinci.” 
 
 K 
 
66 Zy//^ of Raphael Sanzio. 
 
 well as in those of the living; for in the latter they are not so readily 
 to be distinguished, because of the impediment presented by the 
 covering of the skin, as in those from which the outer integuments 
 have been removed ; but thus examined, the master learnt from them 
 in what manner they acquire fulness and softness by their union, each 
 in its due proportion, and all in their respective places, and how by 
 the due management of certain flexures, the perfection of grace may 
 be imparted to various attitudes as seen in different aspects. Thus 
 also he became aware of the effects produced by the inflation of parts, 
 and by the elevation or depression of any given portion or separate 
 member of the body or of the whole frame. The same researches 
 also made him acquainted with the articulations of the bones, with the 
 distribution of the nerves, the course of the veins, &c. by the study 
 of all which he rendered himself excellent in every point required to 
 perfect the painter who aspires to be of the best: knowing, never¬ 
 theless, that in this respect he could never attain to the eminence of 
 Michael Angelo; like a man of great judgment as he was, he con¬ 
 sidered that painting does not consist wholly in the delineation of the 
 nude form, but has a much wider field; he perceived that those who 
 possess the power of expressing their thoughts well and with facility, 
 and of giving effective form to their conceptions, likewise deserve to 
 be enumerated among the perfect painters; and that he, who in the 
 composition of his pictures shall neither confuse them by too much, 
 nor render them poor by too little, but gives to all its due arrange¬ 
 ment and just distribution, may also be reputed a judicious and able 
 master. 
 
 But in addition to this, as Raphael rightly judged, the art should 
 be further enriched by new and varied inventions in perspective, by 
 views of buildings, by landscapes, by a graceful manner of clothing 
 the figures, and by causing the latter sometimes to be lost in the 
 obscurity of shadows, sometimes to come prominently forward into 
 
6 7 
 
 Life of Raphael Sanzio. 
 
 the clear light; nor did he fail to perceive the importance of giving 
 beauty and animation to the heads of women and children, or of im¬ 
 parting to all, whether male or female, young or old, such an amount 
 of spirit and movement as may be suited to the occasion. He gave 
 its due value, likewise, to the attitudes of horses in battle scenes, to 
 their movements in flight, and to the bold bearing of the warriors : 
 the due representation of animals in all their varied forms, did not 
 escape his consideration, still less did that of so portraying the like¬ 
 nesses of men that they may appear to be alive, and may be known 
 for those whom they are intended to represent. Raphael perceived 
 in like manner that innumerable accessories of other kinds and of all 
 sorts were equally to be taken into account, as for example the orna¬ 
 ment of the work by well arranged and beautiful draperies, and vest¬ 
 ments of every kind; by due attention to the helmets and other parts 
 of armour, to the appropriate clothing of the feet, and to the head¬ 
 dresses of women: he saw that equal care should be accorded to the 
 hair and head of figures, to vases, trees, grottoes, rocks, fires, the air, 
 either turbid or serene, clouds, rains, tempests, lightnings, dews, the 
 darkness of night, the moonlight, the sunshine, and an infinite variety 
 of objects beside, to every one of which attention is demanded by the 
 requirements of painting: all these things, I say, being well considered 
 by Raphael, he resolved, since he could not attain to the eminence 
 occupied by Michael Angelo on the point after which he was then 
 labouring, to equal, or perhaps to surpass him in those other qualities 
 that we have just enumerated, and thus he devoted himself, not to 
 the imitation of Buonarotti, lest he should waste his time in useless 
 efforts, but to the attainment of perfection in those parts generally of 
 which we have here made mention . 1 
 
 1 “ We need scarcely remark,” observes Schorn, “ that in his partiality for Michael 
 Angelo, Vasari here attributes that which was indeed the effect of Raphael’s universality 
 
68 
 
 Life of Raphael Sanzio. 
 
 And well would it have been for many artists of our day if they 
 had done the same, instead of pursuing the study of Michael Angelo’s 
 works alone, wherein they have not been able to imitate that master, 
 nor found power to approach his perfection, they would not then have 
 exhausted themselves by so much vain effort, nor acquired a manner 
 so hard, so laboured, so entirely destitute of beauty, being, as it is, 
 without any merit of colouring and exceedingly poor in conception; 
 but instead of this, might very possibly, by the adoption of more 
 extended views and the endeavour to attain perfection in other depart¬ 
 ments of the art, have done credit to themselves as well as rendered 
 service to the world . * 1 
 
 Having made the resolution above referred to, therefore, and 
 learning that Fra Bartolommeo had a very good manner in painting, 
 drew very correctly, and had a pleasing mode of colouring, although, 
 with the intention of giving more relief to his figures, he sometimes 
 made his shadows too dark: knowing all this, Raphael determined to 
 adopt so much of the Monk’s manner as he should find needful or 
 agreeable to him ; to take a medium course that is, as regarded design 
 and colouring, and mingling with what he obtained from the manner 
 of Fra Bartolommeo, other qualities selected from the best that he 
 could find in other masters, of many manners, he thus formed one, 
 which was afterwards considered his own , 2 and which ever has been 
 and ever will be highly esteemed by all artists. 
 
 of genius, to his supposed rivalry with the first-named master.” Puccini has an obser¬ 
 vation to the same effect. 
 
 1 The remarks which Vasari here makes in regard to his fellow-students, are declared 
 with reason by all writers who have noted the passage, to be more especially applicable 
 to himself and his own works. 
 
 - The art of Raphael would indeed have remained most inert and lifeless, had it con¬ 
 sisted in the mere imitation and mingling of different manners. That he accepted the 
 good wherever he found it, is indeed most true, nor did he fail to profit by whatever 
 
6 9 
 
 Life of Raphael Sanzio. 
 
 Thus his manner was afterwards seen perfected in the Sybils and 
 Prophets of the work, executed, as we have said, for the Church of 
 Santa Maria della Pace, and in the conduct of which he was greatly 
 assisted by the circumstance of his having seen the work of Michael 
 Angelo in the Chapel of the Pope. Nay, had Raphael remained 
 constant to the manner as there seen, had he not endeavoured to en¬ 
 large and vary it, for the purpose of showing that he understood the 
 nude form as well as Michael Angelo, he would not have lost any 
 portion of the good name he had acquired; but the nude figures in 
 that apartment of the Torre Borgia, wherein is depicted the Confla¬ 
 gration of the Borgo Nuovo, although certainly good, are not by any 
 means all excellent, or perfect in every part . * 1 In like manner, those 
 painted by this master on the ceiling of Agostino Chigi’s Palace in 
 the Trastevere, are not altogether satisfactory, since they want that 
 grace and softness which were peculiar to Raphael; but the cause of 
 this was, in great part, his having suffered them to be painted after 
 his designs by other artists , 2 an error which, judicious as he was, he 
 soon became aware of, and resolved to execute the picture of the 
 Transfiguration in San Pietro-a-Montorio, entirely with his own 
 hand, and without any assistance from others. In this work, there¬ 
 fore, will be found, all those qualities which, as we have said, a good 
 
 progress was made in art, but his guide at every step, and the cause of his greatness, was 
 the ever ready eye of this master for nature, and his ceaseless study of her beauties, as 
 seen from the point of view presented by his own artistic idea and feeling. 
 
 1 “ An opinion which may have been formed by Vasari, from the fact of his having 
 regarded art from a false point of view,” remarks an Italian annotator. “ No one denies 
 that in drawing the nude figure, Michael Angelo attained to the ne plus ultra. But 
 what Raphael had in mind was the ne quid nimis; nor did he forget the further warn¬ 
 ing, sunt certi denique fines , &c ; there were consequently limits which he did not desire 
 to pass.” 
 
 2 He is then not to be reproved for their defects of execution.— Scborn , and others. 
 
7 o 
 
 Life of Raphael Sanzio. 
 
 picture demands, and should exhibit: nay, had Raphael not used in 
 this picture, almost as it were from caprice, the lampblack, or print¬ 
 er’s black, which, as we have more than once remarked, does of its 
 nature become evermore darker with time, and is thus injurious to 
 the other colours used with it, had he not done this, I believe that the 
 work would now be as fresh as when he painted it; whereas, it is, on 
 the contrary, not a little darkened. 
 
 I have thought proper to make these remarks at the close of this 
 life, to the end, that all may discern the labour, study, and care to 
 which this honoured artist constantly subjected himself, and with a 
 view, more particularly, to the benefit of other painters, who may 
 learn from what has been said, to avoid those impediments, from the 
 influence of which the genius and judgment of Raphael availed to 
 secure him. I will also add the further observation, that every man 
 should content himself with performing such works as he may reason¬ 
 ably be supposed to be capable of and equal to, by his inclination and 
 the gifts bestowed on him by nature, without seeking to contend for 
 that which she has not qualified him to attain, and this let him do, 
 that he may not uselessly spend his time, fatiguing himself vainly, 
 nay, not unfrequently, to his own injury as well as discredit . 1 Let it 
 be observed, moreover, that when what has been accomplished suffices, 
 it is not good to make further efforts, merely in the hope of surpass¬ 
 ing those who by some special gift of nature, or by the particular 
 favour accorded to them by the Almighty, have performed, or are 
 performing, miracles in the art; for it is certain, that the man who 
 has not the needful endowments, let him labour as he may, can never 
 
 1 “ A piece of advice of such value,” remarks a compatriot of our author, “ that it 
 might be usefully written over the entrance of every academy of the fine arts throughout 
 Europe.” 
 
Life of Raphael Sanzio. 71 
 
 effect those things to which another, having received the gift from 
 nature, has attained without difficulty; and of this we have an example 
 among the old masters in Paolo Uccello, who, struggling against the 
 natural bent of his faculties to make progress on a given path, went 
 ever backwards instead. The same thing has been done in our own 
 days, and but a short time since, by Jacopo da Pontormo; nay, ex¬ 
 amples have been seen in the experience of many others, as we have 
 said before, and as will often be said again. And this is permitted to 
 occur, perhaps, in order that when Heaven has distributed its favours 
 to mankind, each one may be content with the portion which has 
 fallen to his lot. 
 
 But I have now discoursed respecting these questions of art at 
 more length than perhaps was needful, and will return to the life and 
 death of Raphael. This master lived in the strictest intimacy with 
 Bernardo Divizio, Cardinal of Bibbiena, who had for many years 
 importuned him to take a wife of his selection, nor had Raphael 
 directly refused compliance with the wishes of the Cardinal, but had 
 put the matter off, by saying that he would wait some three or four 
 years longer. The term which he had thus set approached before 
 Raphael had thought of it, when he was reminded by the Cardinal of 
 his promise, and being as he ever was just and upright, he would not 
 depart from his word, and therefore accepted a niece of the Cardinal 
 himself for his wife. But as this engagement was nevertheless a 
 heavy restraint to him, he put off the marriage from time to time, 
 insomuch that several months passed and the ceremony had not yet 
 taken place . 1 Yet this was not done without a very honourable 
 
 1 The intended bride of Raphael was Maria Bibbiena, but this lady died before he 
 did, as we learn from the inscription placed in the Pantheon by the testamentary injunc¬ 
 tion of Raphael himself. It is, therefore, not improbable, that the true cause of the 
 marriage being deferred was the illness of the lady.— Schorn , Masselli , and others. 
 
7 2 
 
 Life of Raphael Sanzio. 
 
 motive, for Raphael having been for many years in the service of the 
 Court, and being the creditor of Leo X. for a large sum of money, 
 had received an intimation to the effect, that when the Hall with 
 which he was then occupied was completed, the Pontiff intended to 
 reward him for his labours as well as to do honour to his talents by 
 bestowing on him the red hat , 1 of which he meant to distribute a con¬ 
 siderable number, many of them being designed for persons whose 
 merits were greatly inferior to those of Raphael . 2 The painter mean¬ 
 while did not abandon the light attachment by which he was enchained, 
 and one day on returning to his house from one of these secret visits, 
 he was seized with a violent fever , 3 which being mistaken for a cold, 
 the physicians inconsiderately caused him to be bled, whereby he 
 found himself exhausted, when he had rather required to be strength¬ 
 ened. Thereupon he made his will, and, as a good Christian, he 
 sent the object of his attachment from the house, but left her a 
 sufficient provision wherewith she might live in decency ; having done 
 so much, he divided his property among his disciples; Giulio 
 
 1 No reader will now require to be reminded that the red hat is that of a cardinal, 
 and that to receive the red hat is equivalent to being raised to the dignity of a cardinal 
 of the Roman Church. 
 
 2 The father Pungileoni, and the advocate C. Fea, deny that there was any intention 
 of this kind on the part of Leo, but Longhena, in a note to the Istoria , makes certain 
 observations from which it seems probable that what we here read is nevertheless true. 
 We leave our readers to decide between these authorities; but it is to be remarked that 
 no instance of the cardinal’s hat having been bestowed in recompense of artistic talent 
 has yet been known. 
 
 3 Longhena, Pungileoni, Passavant, and all whose researches entitle them to atten¬ 
 tion, agree to attribute the fever which deprived the world of this great painter, to the 
 too earnest zeal of his labours in the examination of the Roman antiquities, labours 
 which rendered a frame prematurely weakened by mental exertions, an easy prey to the 
 malaria so fatally prevalent in the localities to which his researches must of necessity 
 have led him. 
 
73 
 
 Life of Raphael Sanzio. 
 
 Romano, that is to say, whom he always loved greatly, and Giovanni 
 Francesco , 1 with whom was joined a certain priest of Urbino, who 
 was his kinsman, but whose name I do not know . 2 He furthermore 
 commanded that a certain portion of his property should be employed 
 in the restoration of one of the ancient tabernacles in Santa Maria 
 Ritonda , 3 which he had selected as his burial-place , 4 and for which he 
 had ordered that an altar, with the figure of Our Lady in marble, 
 should be prepared ; 5 all that he possessed besides he bequeathed to 
 Giulio Romano and Giovanni Francesco, naming Messer Baldassare 
 da Pescia, who was then Datary 6 to the Pope, as his executor. 
 He then confessed, and in much contrition completed the course of 
 his life, on the day whereon it had commenced, which was Good 
 Friday . 7 The master was then in the thirty-seventh year of his age, 
 and as he embellished the world by his talents while on earth, so is it 
 to be believed that his soul is now adorning heaven. 
 
 After his death the body of Raphael was placed at the upper end 
 of the hall wherein he had last worked, with the picture of the Trans, 
 figuration, which he had executed for Cardinal Giulio de’ Medici, at 
 the head of the corpse. He who, regarding that living picture, after- 
 
 1 To these disciples he left his artistic possessions only; to Cardinal Bibbiena he 
 bequeathed the palace built for him by Bramante. 
 
 2 The priest of Urbino, his kinsman, and the Brotherhood of the Misericordia in. 
 that city, dividing a certain portion of the master’s property between them, and the 
 remainder going to his kinsmen on the mother’s side, the sons of Giovanni Battista 
 Ciarla. 
 
 3 The Pantheon is popularly so called. 
 
 4 Raphael also left funds for a mass to be performed yearly for the repose of his 
 soul in Santa Maria ad Martyres , so is the Pantheon also called. 
 
 5 This was done by Lorenzo Lotti, called Lorenzetto. 
 
 6 President of the Chancery. 
 
 7 In the year 1520. 
 
 L 
 
74 
 
 Life of Raphael Sanzio. 
 
 wards turned to consider that dead body, felt his heart bursting with 
 grief as he beheld them. The loss of Raphael caused the Cardinal 
 to command that this work should be placed on the High Altar of 
 San Pietro-a-Montorio, where it has ever since been held in the 
 utmost veneration for its own great value, as well as for the excellence 
 of its author . 1 The remains of this divine artist received that 
 honourable sepulture which the noble spirit whereby they had been 
 informed had so well deserved, nor was there any artist in Rome who 
 did not deeply bewail the loss sustained by the departure of the 
 Master, or who failed to accompany his remains to their repose. 
 
 The death of Raphael was in like manner 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 sove¬ 
 reign the bitterest grief . 2 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! 
 
 When this noble artist died, well might Painting have departed 
 also, for when he closed his eyes, she too was left as it were blind . 3 
 But now to us, whose lot it is to come after him, there remains to 
 
 1 Considered as our readers are aware the first picture in the world, and now in the 
 
 Vatican. 
 
 3 During his illness, which lasted a fortnight, Raphael is said to have received proofs 
 of the most affectionate interest from all quarters, not excepting the Pope himself. 
 
 3 His place of burial was in the Pantheon, immediately beneath the figure of the 
 Madonna, executed, as above said, by Lorenzetto. The tomb was opened in Oct. 
 1 833, when the skeleton was found remaining, with the skull entire, proving that a 
 skull previously preserved as that of Raphael in the Academy of St. Luke, in Rome, 
 was not that of the painter. This opening of the tomb of Raphael is described in 
 Italian by the Prince Pietro Odescalchi, and in German by the painter Overbeck. 
 
75 
 
 Life of Raphael Sanzio. 
 
 imitate the good, or rather the excellent, of which he has left us the 
 example, and as our obligations to him and his great merits well 
 deserve to retain the most grateful remembrance of him in our hearts, 
 while we ever maintain his memory in the highest honour with our 
 lips. To him of a truth it is that we owe the possession of invention^ 
 colouring, and execution, brought alike and altogether to that point 
 of perfection for which few could have dared to hope ; nor has any 
 man ever aspired to pass before him . 1 
 
 And in addition to the benefits which this great master conferred 
 on art, being as he was its best friend, we have the further obligation 
 to him of having taught us by his life in what manner we should 
 comport ourselves towards great men, as well as towards those of 
 lower degree, and even towards the lowest; nay there was among his 
 many extraordinary gifts one of such value and importance, that I can 
 never sufficiently admire it, and always think thereof with astonish¬ 
 ment. This was the power accorded to him by Heaven, of bringing 
 all who approached his presence into harmony ; an effect inconceiv¬ 
 ably surprising in our calling, and contrary to the nature of our artists, 
 yet all, I do not say of the inferior grades only, but even those who 
 lay claim to be great personages (and of this humour our art pro¬ 
 duces immense numbers), became as of one mind, once they began to 
 labour in the society of Raphael, continuing in such unity and con¬ 
 cord, that all harsh feelings and evil dispositions became subdued and 
 disappeared at the sight of him ; every vile and base thought depart- 
 
 1 Vasari has omitted here to mention the circumstance that Raphael was architect 
 of St. Peter’s, nor does he here allude to the fact, that he was much occupied towards 
 the close of his life with measures for the restoration of ancient Rome, but near the end 
 of his work, and when speaking of his obligations to the writings of Lorenzo Ghiberti 
 and Ghirlandajo, he remarks, that the annotations of Raphael were also of the most 
 essential service to him. 
 
7 6 
 
 Life of Raphael Sanzio. 
 
 ing from the mind before his influence. Such harmony prevailed at 
 no other time than his own. And this happened because all were 
 surpassed by him in friendly courtesy as well as in art; all confessed 
 the influence of his sweet and gracious nature, which was so replete 
 with excellence, and so perfect in all the charities, that not only was 
 he honoured by men, but even by the very animals who would con¬ 
 stantly follow his steps and always loved him . 1 
 
 We And it related, that whenever any other painter, whether 
 known to Raphael or not, requested any design or assistance, of 
 whatever kind, at his hands, he would invariably leave his work to 
 do him service; he continually kept a large number of artists em¬ 
 ployed, all of whom he assisted and instructed with an affection which 
 was rather as that of a father to his children, than merely as of an artist 
 to artists. From these things it followed, that he was never seen to 
 go to Court but surrounded and accompanied, as he left his house, 
 by some fifty painters, all men of ability and distinction, who attended 
 him thus to give evidence of the honour in which they held him. 
 He did not, in short, live the life of a painter, but that of a prince. 
 Wherefore, oh art of Painting! well mightest thou for thy part, then 
 esteem thyself most happy, having, as thou hadst, one artist among thy 
 sons, by whose virtues and talents thou wert thyself exalted to heaven. 
 Thrice blessed indeed mayest thou declare thyself, since thou hast 
 seen thy disciples, by pursuing the footsteps of a man so exalted, 
 acquire the knowledge of how life should be employed, and become 
 
 1 “ Who/’ inquires a zealous annotator of our author, “ who, among the most 
 affectionate disciples of the great painter, could eulogize him with more enthusiasm and 
 cordiality than does our poor Vasari ?” (he alludes to the bitter reproach of partiality so 
 often and so unjustly brought against the biographer) “ he too who was the follower, 
 not only of another master, but of that one precisely who was the most powerful and 
 most untired antagonist of the object of his praise.” 
 
77 
 
 Life of Raphael Sanzio. 
 
 impressed with the importance of uniting the practice of virtue to 
 that of art. Conjoined as these were in the person of Raphael, their 
 force availed to constrain the greatness of Julius II. and to awaken 
 the generosity of Leo X, both of whom, high as they were in dig¬ 
 nity, selected him for their most intimate friend, and treated him with 
 every kind of familiarity; insomuch that by means of the favour he 
 enjoyed with them and the powers with which they invested him, he 
 was enabled to do the utmost honour to himself and to art. Most 
 happy also may well be called those who, being in his service, worked 
 under his own eye; since it has been found that all who take pains to 
 imitate this master have arrived at a safe haven, and attained to a 
 respectable position. In like manner, all who do their best to emu¬ 
 late his labours in art, will be honoured on earth, as it is certain that 
 all who resemble him in the rectitude of his life will receive their 
 reward in heaven. 
 
78 Life of Raphael Sanzio. 
 
 The following epitaph was written on Raphael by the Cardinal 
 Bembo. 
 
 d. o. M. 
 
 RAPHAEL!. SANCTO. JOAN. F. VRB1NATI. 
 PICTORI EMINENT1SS. VETERVMQ AEMVLO, 
 
 CVJVS SP1RANTEIS PROPE IMAGINEIS 
 SI CONTEMPLERE, 
 
 NATVRAE. ATQVE ARTIS FOEDVS 
 FACILE INSPEXERIS, 
 
 IVLII II. ET LEONIS X. PONT. MAX. 
 
 PICTVRAE ET ARCHITECT. OPERIBVS 
 GLORIAM AVXIT. 
 
 VIXIT. AN. XXXVII. INTEGER. INTEGROS.' 
 
 QVO DIE NATVS EST, EO ESSE DESIIT. 
 
 VII. ID. APRIL. MDXX. 
 
 ILLE HIC. EST. RAPHAEL, TIMVIT. QUO. SOSPITE. VINCI 
 RERUM. MAGNA. PARENS, ET MORIENTE. MORI. 
 
 1 ‘‘For the greater exactness,” remarks Pungileoni, “we might here add, dies viii.” 
 And in so short a life did Raphael find time to execute all the pictures enumerated by 
 Vasari, with many others, which he has omitted : to render himself accomplished in 
 architecture to such an extent, that he was found capable of succeeding Bramante in the 
 direction of the building of St. Peter’s; to study the works of antiquity, and to pursue 
 the most rigid and minute inquiry into those found in and around Rome. Nay, so 
 passionate a lover, and so zealous a student was Raphael of these antiquities, that he 
 wrote to Leo X. concerning them, in these memorable words: “ But with what justice 
 can we complain of the Goths and Vandals, and other perfidious enemies, if those who 
 should defend these few relics of old Rome, as fathers or guardians, have themselves 
 been long found engaged in efforts to destroy them?” &c. It is even believed that 
 Raphael collected materials for the history of the artists who had preceded him, since 
 Vasari, as we have before said, admits himself to have profited by the writings of 
 Raphael among those of other authors. 
 
Life of Raphael Sanzio. 
 
 79 
 
 The Count Baldassare Castiglione also wrote respecting the death 
 of this master in the manner following:— 
 
 Quod hicerum corpus medica sanaverit arte y 
 Hippolytum , Stygiis et revocarit aquis / 
 
 Ad Stygias ipse est rapt us Epidaurius undas ; 
 
 Sic precium vitae mors fuit artifici, 
 
 Tu quoque dum toto laniatam cor pore Romam 
 Componis miro y Raphael y ingenio ; 
 
 Atque TJrbis lacerum ferro, igni y aiinisque cadaver , 
 Ad vitam, antiquum jam revocasque decus. 
 Movisti superum invidiam , indignataque mors est y 
 Te dudum extinctis reddere posse animam. 
 
 Et quod longa dies paullatim aboleverat y hoc te 
 Mor tali spreta lege par are iter urn. 
 
 Sic miser heu y prima cadis intercepte juventai ; 
 Deberi et morti nostraque y nosque mones . 
 
APPENDIX. 
 
 A CATALOGUE OF THE PRINCIPAL PAINTINGS BY RAPHAEL, 
 CLASSIFIED ACCORDING TO THEIR SUBJECTS. 
 
 TRANSLATED FROM THE APPENDIX TO ** RAPHAEL VON URBINO UND SEIN VATER 
 GIOVANNI SANTI,” BY J. D. PASSAVANT, FORMERLY DIRECTOR 
 OF THE MUSEUM AT FRANKFORT. 
 
 The figures at the beginning of each line show the chronological order in which 
 the subjects were painted . 
 
 Nos. i to 20 were painted between a. d. 1500 and 1504, in the manner of Perugino. 
 
 Nos. 21 to 55 ,, from 1504 to 1510, at Florence. 
 
 Nos. 56 to 103 ,, from 1508 to 1513, at Rome, in the time of Pope Julius II. 
 
 Nos. 104 to 248 ,, from 1513 to 1520, at Rome, in the time of Pope Leo X. 
 
 Subjects taken from the Bible . 
 
 No. 121 to 172. 
 
 IFTY-TWO FRESCOES in the cupolas of the Loggie of 
 the Vatican. Forty-eight subjects from the Old Testa¬ 
 ment and four from the New Testament, executed by 
 the pupils of Raphael, after his small sepia sketches, under 
 the direction of Giulio Romano. 
 
 4. A Church Banner, on which are painted the Holy Trinity, and 
 on the reverse the Creation of Eve, at Citta di Castello. 
 
 67. The First Sin, on the ceiling of the Chamber of the “ Segna¬ 
 tura” in the Vatican. 
 
 74. Moses with the Tables of the Law, on the dado of the Chamber 
 of the “ Segnatura ” in the Vatican. 
 
 70. The Judgment of Solomon, on the ceiling of the Chamber of the 
 4< Segnatura ” in the Vatican. 
 
 M 
 
82 Classified List of 
 
 No. 
 
 94. God appearing to Noah. Fresco on the ceiling of the Chamber 
 
 of Heliodorus in the Vatican. 
 
 95. The Sacrifice of Abraham. Fresco on the ceiling of the Chamber 
 
 of Heliodorus in the Vatican. 
 
 96. The Dream of Jacob. Fresco on the ceiling of the Chamber of 
 
 Heliodorus in the Vatican. 
 
 97. God appearing to Moses in the Burning Bush. Fresco on the 
 
 ceiling of the Chamber of Heliodorus in the Vatican. 
 
 103. Joseph before Pharaoh; The Red Sea; Moses Receiving the 
 Tables of the Law. Small paintings in the embrasures of the 
 windows in the Chamber of Heliodorus. 
 
 105. The Prophets. Frescoes in S. Maria della Pace, at Rome. Daniel 
 and David, Jonah and Hosea. 
 
 85. The Prophet Isaiah. Fresco in the Church of S. Agostino, at Rome, 
 no. Vision of Ezekiel. Pitti Palace, Florence. 
 
 Subjects relating to Christ . 
 
 in. Birth of Christ. Lost. 
 
 36. Adoration of the Shepherds. Formerly at Bologna. 
 
 1. The Infant Jesus Caressed by the little St. John. At Perugia. 
 197 to 207. Tapestries by Raphael, in the Vatican, second series. Twelve 
 subjects taken from the Life of Christ, and a thirteenth representing 
 allegorical figures (for the most part by Giulio Romano and other 
 pupils of Raphael). 
 
 186 to 195. Tapestries by Raphael, in the Vatican; first series, taken 
 from the History of the Apostles. Ten subjects. 
 
 The Seven Cartoons of Raphael for the tapestries; three are lost. 
 Formerly at Hampton Court, now at the South Kensington Museum. 
 120. Christ and the Apostles. Fresco in the “ Sala Vecchia de Pala- 
 frenieri” at Rome. (Repainted by Taddeo Zucchero). 
 
 73. Christ and His Apostles ; in the embrasure of a window in the 
 Chamber of the <c Segnatura 99 in the Vatican. 
 
 17. Christ upon the Mount of Olives ; in Mr. Fuller Maitland’s Col¬ 
 lection, England. 
 
 224. Christ bearing the Cross. (Lo Spasimo di Sicilia ). Madrid 
 
 Museum. 
 
Paintings by Raphael. 83 
 
 No. 
 
 6. Christ on the Cross and Four Saints, (from the Fcsch Gallery). 
 Now in Earl Dudley’s Collection. 
 
 48. The Entombment. Borghese Palace, Rome. 
 
 20. Three Small Circular Pictures. Christ seated upon a sarcophagus ; 
 
 Saint Louis ; and Saint Herculanus. Berlin Museum. 
 
 2. The Resurrection. In the Vatican. 
 
 27. Peace be with you. ( Pax vobis). In the Tosi Collection, at Brescia. 
 241. The Transfiguration. In the Vatican. 
 
 119. Subjects relating to Christ, in the embrasures of the windows 
 of the Chamber of the “ Incendio del Borgo.” 
 
 Holy Families and Madonnas. 
 
 91. The Holy Family, Of Naples. Naples Museum. 
 
 227. The Holy Family, The Pearl. Madrid Museum. 
 
 226. The Holy Family, Beneath the Oak. Madrid Museum. 
 
 46. The Holy Family, with the Infant Jesus seated upon a lamb. Madrid 
 Museum. 
 
 229. The Holy Family, La Grande (de 1518). Louvre. 
 
 232. The Holy Family, La Petite. Louvre. 
 
 45. The Holy Family, The Canigiani. Munich Museum. 
 
 38. The Holy Family, with the beardless St. Joseph. Hermitage, St. 
 Petersburgh, 
 
 33. The Holy Family, with the Palm Tree. Bridgewater Gallery. 
 
 84. The Madonna, The Fuligno. Vatican. 
 
 221. The Madonna, della Sedia. Florence. 
 
 30. The Madonna , with the Goldfinch [cardellino). Florence. 
 
 21. The Madonna, The Grand Duke of Tuscany's, Pitti Palace, Florence. 
 
 54. The Madonna, Pitti Palace. 
 
 25. Altar Pictures for the Monastery of Saint Anthony of Padua, at 
 Perugia. Principal painting, Madonna with Saints ; The Tym- 
 pan, The Eternal Father, both in the Naples Museum; 
 Paintings on the predella — Christ on the Mount of Olives, Christ 
 bearing His Cross, The Dead Christ, Saint Francis and Saint 
 Anthony of Padua. Dispersed among English Collections. 
 
 9. The Madonna, The Countess Alfani's. Alfani Collection at Perugia. 
 
 49. The Madonna, with the Pink. Spada Collection at Lucca. 
 
84 Classified List of 
 
 No. 
 
 12. The Madonna, Count Staffa’s. Collection Della Staffa. 
 
 92. The Madonna, uuitb the Fish [au poisson). Madrid Museum. 
 
 273. The Madonna, with the Rose . Madrid Museum. 
 
 53. The Madonna, La Belle Jardiniere. Louvre. 
 
 83. The Madonna, with the Diadem (au linge ). Louvre. 
 
 39. The Madonna, La Petite , of the Orleans Gallery. Delessert Col¬ 
 lection, Paris. 
 
 10. The Madonna, with Saint Jerome and Saint Francis. Berlin Museum. 
 
 22. The Madonna, The Duke ofTerranuova's. Berlin Museum. 
 
 7. The Madonna, The Solly . Berlin Museum. 
 
 52. The Madonna, The Colonna. Berlin Museum. 
 
 238. The Madonna, di San Sisto. Dresden Gallery. 
 
 222. The Madonna, della Tenda. Munich Museum. 
 
 32. The Madonna, The Tempi. Munich Museum. 
 
 31. The Madonna, in the Meadow. Vienna Museum. 
 
 55. The Madonna, The Esterhazy . Esterhazy Gallery, Vienna. 
 
 81. The Madonna, della Casa di Alba. The Hermitage, St. Petersburgh. 
 
 89. The Madonna, The Orleans. Bridgewater Gallery. 
 
 26. The Madonna, The Ansidei. Blenheim. 
 
 51. The Madonna, The Cowper (1508). Pafashanger. 
 
 23. The Madonna, The small Cowper (1505). Panshanger. 
 
 82. The Madonna, Aldobrandini. (Lord Garvagh’s). National Gallery. 
 
 223. The Madonna, with the candelabra. (Formerly Mr. Munro’s). 
 
 90. The Madonna, with the Holy Child standing. Formerly in the Or¬ 
 
 leans Gallery. In England. 
 
 50. TheMadonna, with the Infant Jesus asleep. Lost. 
 
 80. The Madonna, di Loreto. Lost. 
 
 Subjects relating to the Virgin . 
 
 15. The Marriage of the Virgin. ( Lo Sposalizio). Brera, Milan. 
 103. The Annunciation. In the embrasure of a window in the Chamber 
 of Heliodorus. 
 
 225. The Visitation. Madrid Museum. 
 
 11. The Coronation of the Virgin. Vatican. 
 
 248. The Coronation of the Virgin. Finished by G. Romano and F. 
 Penni. Vatican. 
 
Paintings by Raphael. 85 
 
 No. 
 
 196. The Coronation of the Virgin. Tapestry for the Sistine Chapel. 
 Lost. 
 
 Saints . 
 
 74. Saint Augustine on the Sea Shore. In the Chamber of the “ Seg- 
 natura,” Vatican. 
 
 18. Saint George with the Sword. Louvre. 
 
 37. Saint George armed with a Lance. Hermitage, St. Petersburgh. 
 240. Saint John the Baptist. Florence Gallery. 
 
 228. The Archangel Michael. Louvre. 
 
 19. The Archangel Michael, Le Petit. Louvre. 
 
 3. The Archangels Michael and Raphael. National Gallery. 
 
 5. Coronation of Saint Nicholas de Tolentino. Formerly at Citta 
 di Castello 
 
 101. Deliverance of Saint Peter. Fresco in the Chamber of Heliodo- 
 rus, Vatican. 
 
 16. Saint Sebastian. Lochis Collection, Bergamo. 
 
 29. Camaldulite Saints surrounding the Holy Trinity. Fresco 
 at San Severo. 
 
 47. Saint Catherine of Alexandria. National Gallery. 
 
 109. Saint Cecilia. Bologna Museum. 
 
 208. Martyrdom of Saint Cecilia. Fresco in the chapel of the Pope’s 
 country-house. 
 
 8. Mary Magdalen and Saint Catherine. Camuccini Collection, 
 Rome. 
 
 230. Saint Margaret. Louvre. 
 
 231. Saint Margaret. (Repetition). Vienna Gallery. 
 
 Mythological and Allegorical Subjects , 
 
 IN THE CHAMBER OF THE “ SEGNATURA” IN THE VATICAN. 
 
 58. Mount Parnassus. A fresco. 
 
 68. The Judgment of Apollo against Marsyas. On the ceiling. 
 
 64. Allegorical Figure of Poetry. On the ceiling. 
 
 63. Allegorical Figure of Theology. On the ceiling. 
 
 65. Allegorical Figure of Philosophy. On the ceiling. 
 
 66. Allegorical Figure of Jurisprudence. On the ceiling. 
 
86 
 
 Classified List of 
 
 No. 
 
 69. Allegorical Figure of Astronomy. On the ceiling. 
 60. Prudence, Fortitude, Moderation. Frescoes. 
 Philosophy. On the dado. 
 
 Science (of things Divine). On the dado. 
 
 102. Twelve Allegorical Figures and Twelve small Compositions, on 
 the walls of the Chamber of Heliodorus in the Vatican. 
 
 209 to 215. Seven Mythological Subjects. Frescoes in the bath-room 
 of Cardinal Bibiena, 
 
 216. Six Cupids Victorious. Beneath the frescoes. 
 
 217. Cupid and Pan On the ceiling. 
 
 106. Galatea. At La Farnesina, Rome. 
 
 239. Cupid and Psyche. Frescoes in the Loggie de la Farnesina. 
 
 42. The Three Graces. Earl Dudley’s Collection. 
 
 Cupids Playing. Five subjects, tapestries. Lost. 
 
 13. Vision of a Knight. National Gallery. 
 
 Subjects from Ancient History . 
 
 105. The Sibyls. Four frescoes at Santa Maria della Pace, Rome. 
 
 218. Marriage of Alexander and Roxana. Fresco in the Villa 
 
 Raphael, Rome. 
 
 IN THE CHAMBER OF THE “SEGNATURA” IN THE VATICAN. 
 
 74. The Sibyl of Tibur. On the dado. 
 
 74. Solon Teaching the Greeks. On the dado. 
 
 71. Alexander the Great depositing the Works of Homer in 
 
 the Tomb of Achilles. In u grisaille,” beneath the “ Parnassus.” 
 
 73. The Judgment of Seleucus. In the embrasure of a window. 
 
 74. Siege of Syracuse. On the dado. 
 
 74. The Death of Archimedes. On the dado. 
 
 59. The School of Athens. Fresco. 
 
 72. The Emperor Augustus Forbidding the Burning of Virgil’s 
 
 ^Eneid. In <£ grisaille.” 
 
 74. A Pagan Sacrifice. On the dado. 
 
 74. Eastern Magicians. On the dado. 
 
Paintings by Raphael. 87 
 
 Subjects relating to the Church . 
 
 No. 
 
 57. Theology. The Dispute concerning the Holy Sacrament (La Dis¬ 
 puta). In the Chamber of the cc Segnatura,” Vatican. 
 
 98. Heliodorus Driven from the Temple. Fresco in the Chamber 
 
 of Heliodorus in the Vatican. 
 
 99. The Mass of Bolseno. A fresco in the same chamber. 
 
 244. The Baptism of Constantine. In the Hall of Constantine, Vatican. 
 
 242. Constantine Addressing his Soldiers. In the Hall of Con¬ 
 
 stantine, Vatican. 
 
 245. The Donation of the City of Rome to the Pope. In the Hall 
 
 of Constantine, Vatican. 
 
 103. Constantine giving the City of Rome to the Pope. In the 
 embrasure of a window in the Hall of Heliodorus. 
 
 247. Subjects from the History of Constantine. In the Hall of 
 Constantine, Vatican. 
 
 115. Coronation of Charlemagne. Fresco in the Chamber of the 
 
 “ Incendio del Borgo,” Vatican. 
 
 62. Gregory IX. giving the “ Decretals.” Fresco in the Chamber 
 of the “ Segnatura.” 
 
 114. The Oath of Leo III. Fresco in the Chamber of the “ Incendio del 
 Borgo.” 
 
 1 16. The Fire in the Borgo. Fresco in the chamber bearing that name. 
 118. Six Protectors of the Church of Rome. On the bases of the 
 
 same chamber. 
 
 246. Eight Popes, with Allegorical Figures. Hall of Constantine. 
 103. A Pope Celebrating Mass. In the embrasure of a window in the 
 
 Hall of Heliodorus. 
 
 Battles . 
 
 243. The Battle of Constantine. In the Hall of Constantine, in the 
 
 Vatican. 
 
 100. The Meeting of the Hordes of Attila. Fresco in the Chamber 
 of Heliodorus. 
 
 117. The Victory over the Saracens. Fresco in the Chamber of the 
 
 “Incendio del Borgo.” 
 
88 Classified List of Paintings by Raphael. 
 
 Portraits . 
 
 No. 
 
 41. Raphael, by himself. Florence Gallery. 
 
 77. Raphael, by himself, (two copies). Lost. 
 
 75. Pope Julius II. Pitti Palace, Florence. 
 
 234. Pope Leo X. with the Cardinals Julius de Medici and Louis 
 
 de Rossi. Pitti Palace. 
 
 235. Lorenzo de Medici, Duke of Urbino. Lost. 
 
 107. Giulio de Medici. Florence Gallery. (?) 
 
 108. Bernardo Dovizio da Bibiena. Madrid Museum. 
 
 40. Guidubaldo, Duke of Urbino. Lost. 
 
 112. Baldassare Castiglione. Louvre. 
 
 76. Marchese Federico de Mantua. Lucy Collection, England. 
 
 220. Andrea Navagero and Agostino Beazzano. Lost. Copies of 
 
 these portraits are in the Doria Gallery, at Rome, where they pass 
 for Bartolo and Baldo. 
 
 219. Antonio Tebaldeo. Lost. 
 
 88. Bindo Altoviti. Munich Museum. 
 
 104. Fedra Inghirami. Pitti Palace. 
 
 34. Angelo Doni and Maddalena Strozzi. Pitti Palace. 
 
 43. Don Blasio and Don Baltasar. Two Monks of the Monastery 
 
 of Vallambrosa. Academy of Florence. 
 
 236. A Player on the Violin. Sciarra Colonna Palace, Rome. 
 
 24. A Young Man of the Family of Riccio. Munich Museum. 
 
 79. A Young Man. Louvre. 
 
 14. A Young Man. Kensington Palace. 
 
 237. Raphael’s Mistress. Pitti Palace. 
 
 78. Raphael’s Mistress. Barberrini Palace, Rome. 
 
 233. Joanna of Aragon. Louvre. 
 
 44. A Young Girl. Pitti Palace. 
 
 87. A Woman. Florence Gallery. 
 
 35. A Woman. Florence Gallery. 
 
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