F753.5 R2l5h i-SC o i i IX XX 'WU $*\P*4 0*1^^ fii^rnrt § a • • • • * § • i fllntC and: Ho YihA RFStRVE STORAGE COLLECTION «?9^%£^Aoaeo90i igjegiwi ' : mm nTTTrfTrr. ;;..>« 5 SA xxfcfix- Reserve Storage Collection THE LIBRARY OF THE UNIVERSITY OF NORTH CAROLINA ENDOWED BY THE DIALECTIC AND PHILANTHROPIC SOCIETIES P759.5 This BOOK may be kept out TWO W: ONLY, and is subject to a fine of CENTS a day thereafter. It is DUE o DAY indicated below: Digitized by the Internet Archive in 2011 with funding from University of North Carolina at Chapel Hill http://www.archive.org/details/raphaelhismadonnOOshed BY THE SAME AUTHOR. Famous Sculptors and Sculptures. Famous Painters and Paintings. Each in one volume. Illustrated ,vith thirteen full-page Heliotypes. Revised and enlarged editions. i2mo. Price for each, $3; half-calf, $5; tree-calf, $7. " The volume presents, in an accessible and most attractive form, a wider range of valuable information on the history of art than can elsewhere be found. It is enriched by characteristic anecdotes of the great painters, and illustrated by Heliotypes from engrav- ings of some of the most famous pictures in the galleries of Europe. . . . This beautiful volume cannot fail to prove a work of per- manent interest and value." — Providence Journal. " Mrs. Shedd has done the work undertaken by her in the most admirable manner, proving herself to be a very industrious and faithful student, and a highly cultivated connoisseur. This elegant volume has a special value as a book of reference for art students." — Philadelphia Press. THE HELIOTYPE GALLERIES. The finest pictures of the great masters, reproduced from the best engravings by the Heliotype Process, which combines the precision of photography with the durability of printer's ink. Full quarto pages with descriptive text. Entirely new editions, with new plates and new negatives. The Titian Gallery. 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By Henry Bacon. Profusely illustrated. 8vo. $3. " There is no other book of which we know, giving so clear and vivid an idea of the condition of art in Paris; and readers will find it fascinating " — Boston Courier. The Art-Life of William Rimmer. By Truman H. Bartlett, sculptor. With portrait, and Heliotypes of Rimmer's drawings. Quarto. $10. " Dr. Rimmer had the strongest influence on his age, of any artisr of this country, and this work will be of great value." — St. Louis Globe-Democrat. Artist-Biographies. By M. F. Sweet^er. Twelve Heliotypes in each vol- ume. $1.50 per volume. Five volumes in box. " In no other volumes is there to be found so comprehen- sive, so graceful, and so delightful an account of the chief artists of Europe." — Christian Intelligencer. Mrs. Clement. Painters, Sculptors, Architects, Engravers, and their Works. Sixth edition. Illustrated. $3. A Handbook of Legendary and Mythological Art. Fourteenth edition. Illustrated. $3. JAMES R. OSGOOD & CO., BOSTON. sBSSjSi^s^igmmgsmsmmisssiimm m RAPHAEL HIS MADONNAS AND HOLY FAMILIES BY MRS. JULIA A. SHEDD WITH NUMEROUS HELIOTYPE ILLUSTRATIONS BOSTON JAMES R. OSGOOD AND COMPANY Copyright, 18S3, By JAMES R. OSGOOD AXD COMPANY. .franklin 13rrss : RAND, AVERY, AND COMPANY, BOSTON. <&% PREFACE. .4. m d^ HE four hundredth anniversary of the birth of Raphael ^wK^KS^v^ occurred in the present year. The 6th of April has *S been generally accepted as the birthday of the great painter ; but his principal biographer, Giorgio Vasari, states that his birth, as his death, occurred on " il Venerdi Santo." As this, being a movable feast, must in 14S3 have occurred on the 26th or the 28th of March, — according as one reckons by the astronomical tables or the Julian Calendar, — the exact day has been the subject of some discussion. Just fifty years ago the remains of Raphael were exhumed in order to settle a question as to the exact place of his sepulture. On the iSth of October, 1833, they were again solemnly entombed in the Pantheon. The fourth centenary has been marked by fitting honors in the land of his nativity, and especially in Rome, which was so greatly enriched by his works, and where his ashes repose. Although nothing 760415 6 Preface. may add to the fame of Raphael, yet all demonstrations of homage are an expression of gratitude for his life, finished almost in its youth, which contributed to the world so much that is lofty and pure and beautiful. It has been a grateful task, in this memorial year, to study and group together the class of works which he so much loved. CONTENTS. APHAEL 13 MADONNAS AND HOLY FAMILIES PAINTED UNDER PERUGINO THE FLORENTINE PERIOD THE ROMAN PERIOD RAPHAEL AS A SCULPTOR RAPHAEL AS A POET SELECTIONS FROM RAPHAEL'S CORRESPONDENCE .... CHRONOLOGICAL CATALOGUE OF MADONNAS AND HOLY FAMILIES . CLASSIFIED CATALOGUE OF RAPHAEL'S OTHER WORKS INDEX 2 5 2S 3 1 44 60 62 63 73 76 S5 -'-. wNm --c~r- g g gjfo ^._g?5__gta_^^ jff}__&1? et; eh_j^_jr ■■■;-. " i . g.'s eh &fe_e)s__$B_jf^dlg_db__dlg__t^_d!? gfe sfc 6£S S^ l^» JJ ^"i? ^~~^~^ — ^j=) i=}3 5^~ ^a~^" £^~ <^~ <#~^§ LIST OF ILLUSTRATIONS. ORTRAIT OF RAPHAEL .... From the Engraving by F. Forster. HEADS FROM MADONNA DI SAN SISTO From the Painting* I. THE MADONNA DEL GRAN DUCA From the Painting, 2. THE MADONNA DEL CARDELLINO From the Engraving by A. L. Martinet. 3. THE MADONNA DELLA TEMPI From the Engraving by S. Jesi. Frontispiece. Page 14 . 16 18 4. THE MADONNA OF THE ORLEANS GALLERY 20 5. THE HOLY FAMILY OF THE CANIGIANI FAMILY . From the Engraving by S. Amsler. 6. THE HOLY FAMILY WITH JESUS SEATED ON A LAMB From the Engraving by G. Garavaglia. 7. THE MADONNA DELLA CASA NICCOLINI (large Cowper) From the Engraving by A. Perfetti. 8. LA BELLE JARDINIERE From the Engraving by L. A. B. Desnoyers. 24 32 io List of Illustrations. Page. 9. THE MADONNA DEL BALDACCHINO ........... 36 From the Engraving by B. A. NICOLLET. 10. THE MADONNA OF THE ALBA FAMILY .40 From the Engraving by L. A. B. Desnoyers. 11. THE MADONNA OF THE ALDOBRANDINI FAMILY ....... 44 From the Engraving by F. E. A. BRIDOUX. 12. THE MADONNA OF THE DIADEM . 48 From the Engraving by L. A. B. Desnoyers. 13. THE MADONNA DI FOLIGNO 52 From the Engraving by L. A. B. Desnoyers. 14. THE MADONNA OF THE BRIDGEWATER GALLERY ....... 54 From the Engraving by C. L. LoRICHON. 15. THE MADONNA DEL PESCE 60 From the Engraving by L. A. B. Desnoyers. 16. THE MADONNA DELLA SEDIA 64 From the Painting. 17. THE MADONNA WITH THE CANDELABRA ... 68 From the Engraving by F. E. A. Bridoux. 18. THE HOLY FAMILY CALLED THE PEARL . 72 From the Engraving by N. LECOMTE. 19. THE LARGE HOLY FAMILY OF THE LOUVRE ........ 76 From the Engraving by J. T. RlCHOMME. 20. THE MADONNA DI SAN SISTO 80 From the Engraving by M. Steinla. -. Plemjcrriat RAPHAEL 1483-1883 mmmn Sg g3w. w^v. ^tn^n) iW^e rfS^s "" ■ ^> v ' ^ > * '" -v^»" -li/v" ^v -s^s^ 'li-a^ -*y&-' - RAPHAEL. gSdEISaSE g jHE earliest ancestor of Raphael Santi, of whom we have any record, was one Sante, who lived at Colbordolo, a small town upon the summit of a mountain in the ancient Duchy of Urbino, in the beginning of the fourteenth century. Sante had a son Piero, or Pietro, who became the father of two sons, named Luca and Peruzzolo. The latter had one son, to whom he gave the baptismal name of Sante. Suffering misfortunes at Colbordolo, Peruzzolo removed to Urbino in 1450, where he died in 1457. His son Sante married, and had two sons and two daughters, — Giovanni and Bartolommeo, Margherita and Santa. About 1464 he purchased the house in the Contrada del Monte, at Urbino, which is now famous as the birthplace of Raphael. From this time the family name was commonly written Santi. The date of Giovanni's birth is not known ; and we have no means of tracing the circumstances of his early life, or the growth of that taste which led him to choose for a career what he termed " the admirable art of painting." No doubt the picturesque scenery for which Urbino is so remarkable contributed its share towards the development of this taste. Federigo, Duke of Urbino, a friend and patron of artists, possessed a valuable collection of paintings and other works of art ; and his relation with his people was of the most familiar and paternal character: it may be supposed that these circumstances also aided in the development of the young man's talent. The "3 1 4 Raphael. duke transformed the Castle of Urbino into a magnificent palace, in the decoration of which various artists were employed ; and Giovanni probably became familiar with the best art of the time, though we do not know who instructed him, or how early he became an established painter. He appears to have been a poet also, and in his verses are eulogized many of the painters of the time. The pictures of Giovanni Santi have generally been slightly esteemed, but, judged by the best examples which are in existence, he was an artist of pure taste, and at times gave glimpses of beauty which would seem to be a foretaste of the future creations of his more gifted son. In his children's heads, particularly, may be traced a resemblance to those of Raphael. Though not a genius of the highest order, it has been proved that he contributed in no small degree to the development of the art of his time ; and the reflection from the brilliant career of his son is no longer the only light which history sheds upon his name. Of his earlier works but little is known. An altar-piece, painted for the Church of the Hospital of Santa Croce, representing the Virgin Enthroned, with saints, is to be seen at Fano. A picture of the Salutation was painted for the Church of Santa Maria Nuova, at Fano. In the Brera, at Milan, is an Annunciation by him. In the Accademia delle Belle Arti, at Urbino, are a number of his pictures. Giovanni established himself at Urbino, and practised both painting and gilding. He married Magia Ciarla, the daughter of a merchant of Urbino; and in 14S3 their son was born, who was christened Raphael, a name which had no precedent in the family. Giovanni seems to have had the most tender affection for his family ; and in one of the rooms of the Casa Santi — the room in which Raphael was born, it is said — is preserved one of his frescos, in which it is supposed he per- petuated the features of his wife and child. Three other children were born to Giovanni and Magia, but they all died young; and in 1491 the mother died, leaving desolate the home, which had been one of rare happiness. Giovanni soon contracted a second marriage with Bernardina, the daughter of a gold- smith, Pietro di Parte. She brought to her husband a dowry of two hundred florins, but she seems not to have brought to his home the gentleness of spirit Raphael. 1 5 which characterized Magia. In 1494 Giovanni died; and die little Raphael was left to the care of his stepmother and his uncle, Don Bartolommeo, whom Gio- vanni had appointed his guardian. Bartolommeo Santi had entered the church, and at a later period was dean of the diocese of San Donato. The home of Raphael was now rendered most unhappy by the quarrels of his stepmother and uncle. At length these became so violent, that Bernardina left the house ; and, Don Bartolommeo refusing to give her her rights, matters had to be settled at the clerical tribunal. At this sad period of the young orphan's life, Raphael's uncle, Simone di Battista Ciarla, interfered in his behalf, and arranged with Don Bartolommeo to place him under the care and tuition of some competent painter. This opportune kindness seems never to have been forgotten, for Raphael cher- ished through life the most tender and filial affection for his maternal uncle. Perugia, the ancient Perusia, is situated upon the heights above the valley of the Tiber, commanding extensive views ; and its whole neighborhood is remarka- ble for some of the most charming scenery in all Italy. A little west of the central part of the city is the Via Deliziosa, on the sharp ascent of a hill : here, at No. iS, is a two-storied house, the home of Pietro Perugino, where the master lived and wrought, and to which, nearly four hundred years ago, the little Raphael came to learn to be a painter. Perugino was then at the height of his fame. He was an artist of profound religious sentiment, and great purity of taste : to these qualities were added uncommon proficiency in perspective, and vigorous coloring. In his studio, surrounded by pupils, many of whom pos- sessed extraordinary talents, the rare genius of Raphael was happily developed. His progress was rapid, and he began early to assist his master. In 1500 Raphael went to Citta di Castello, where he received his first orders for painting of which we have an account. The commissions were for a banner for the Church of the Trinita, a Crucifixion for the Church of the Dominicans, and the Coro- nation of the Holy Hermit, Nicholas of Tolentino, for the Church of the Augustines. Returning to Perugia, he continued to labor with Perugino, sometimes assisting in the execution of the master's works, and occasionally painting his own composi- 1 6 Raphael. tions. Among these are several Madonnas, which, though painted in the manner of Perugino, are characterized by a more delicate sentiment, and a finer observa- tion of nature. To the same period belong his Coronation of the Virgin, a large altar-piece formerly in the Church of the Franciscans at Perugia (now in the Vatican), and his Vision of a Knight (now in the English National Gallery). The latter is a small picture, which the artist probably painted for himself. In the young knight, who lies dreaming in the shadow of the laurel, he seems to have given a glimpse of his own struggles and triumph. In 1504 Raphael left the school of Perugino. In the same year he painted the Sposalizio, or Marriage of the Virgin, for the Church of the Franciscans at Citta di Castello. It is an imitation, to some extent, of the celebrated Sposalizio which Perugino had painted a few years earlier for the cathedral at Perugia. The temple in the background is more beautiful in its architecture, while the figures are of greater individual beauty, and are more gracefully grouped. (It is now in the Brera, at Milan.) A Saint Sebastian, a small picture with a landscape background, belongs to the same period. About this time Raphael visited his birthplace ; and at the court of Urbino he made the acquaintance of several persons of rank, whose influence was of value to him. He painted for the duke a Christ in the Garden of Gethsemane, and the two graceful little pictures, St. George and St. Michael, now in the Louvre. His intercourse at Urbino, no doubt, stimulated his desire to visit Flor- ence, and improve himself by acquaintance with its art treasures. Joanna della Rovere, sister of the Duke of Urbino, gave the young artist a most kind and flattering letter of introduction to Pietro Soderini, who in 1502 had been elected Gonfaloniere of Florence. In the autumn of the year 1504 Raphael made his first journey to Florence, where he devoted himself chiefly to the study of the works of Masaccio and of Leonardo da Vinci. His subsequent works prove that he made a careful study of the frescos with which Masaccio, and, later, Filippino Lippi, had decorated the Brancacci chapel of the Carmelite Church at Florence. The influence of Leonardo da Vinci is also to be traced, and various drawings i.'»«*efesls£^s?~ - ' " Si^S83 Raphael. 1 7 are in existence which he made at that time from this artist's works. This was the beginning of a new and important era in his development, when, by degrees, he became emancipated from the style of the early masters. His works became more and more individual in character, marked by a greater purity of style, and a more delicate and finished execution. An important picture of this transition period is the Madonna del Gran Duca, which combines the highest excellences of the school of Perugino, improved by the superior genius and elevated taste of its pupil. Several other Madonnas belong to this time. Raphael's first stay in Florence was short, as he returned to Perugia the following year (1505). He executed various large pictures for the churches at Perugia, and painted his first fresco in a chapel of S. Severe The latter he left incomplete, and it was finished after his death, by Perugino. After a short stay in Perugia, Raphael returned to Florence, where he remained, the greater portion of the time, until the middle of the year 1508. His talents could not fail to brinor n ; m ; n to marked notice during- his first visit there, and on his return he was joyfully welcomed by his friends and admirers. He was favorably noticed by several patrician families, and received orders for many pic- tures. Among these are several of his favorite subject, the Madonna and Child, and a number of interesting portraits. It is said, that, some time during this period, he made a visit to Bologna, to which city he may have been attracted by the fame of the painter Francesco Raibolini, commonly called Francesco Francia. A strong friendship grew up between him and Francia, and it k, believed that they executed some paintings in conjunction. After his visit to Bologna he again spent some time at Urbino, where he made acquaintance with some of the most learned men of the time ; for the court of Urbino was at that time one of the most brilliant of the smaller courts of Italy. During this stay he painted various portraits of distinguished personages and also the fine portrait of himself — probably for his favorite uncle, Simone di Battista Ciarla — now preserved in the Florentine Gallery. He painted the charming pic- ture of the Three Graces (now in England) for some one at the court of Urbino. 1 8 Raphael. The remainder of Raphael's Florentine period was fruitful in important works, and the Madonnas and Holy Families of this time are among his most charming productions. He was a close student of nature, and had gradually freed himself from the trammels of his early education in art. In Florence he formed an intimate friendship with Fra Bartolommeo (Baccio della Porta), the painter monk, who had been a devoted disciple of Savonarola, and who, overcome with sorrow at the execution of his venerated friend, had for years abandoned his easel. It is said that he was stimulated to resume his art by Raphael's visit to Florence. The works of Fra Bartolommeo are characterized by a gentle dignity and grace, and a luminous coloring ; and the young painter, ready to appropriate whatever he met with that commended itself, for a short time imitated the style of his new friend. The Madonna del Baldacchino, painted at this time, strikingly resem- bles the works of Fra Bartolommeo. When Raphael had reached his twenty-fifth year, his fame as a painter was spreading through Italy. About the middle of the year 1508 he was invited by Julius II. to Rome, whither he at once hastened. In 1503 Julius had been elected to the see of Rome ; and, though of a warlike disposition, he was a distinguished patron of the fine arts. Soon after his accession to the pontificate, he had invited Michael Angelo to Rome, and commissioned him to build his mausoleum ; and Donato Lazzari, called Bramante, had been appointed pontifical architect. This epoch in the life of Raphael was the beginning of the last and most important phase of his development as a painter. The Pope had refused to take possession of the apartments in the Vatican which had been occupied by Alex- ander VI. ; and, the stanze in the upper story having been suggested to him, Raphael was summoned to continue the decoration, which had already been advanced by several eminent painters. When he had finished his first fresco, the satisfaction of the Pope was so great, that he determined to have all the rooms repainted by Raphael, and ordered the destruction of the frescos by the earlier masters. A few by II Sodoma (Gianantonio Razzi) and by Pietro Peru- gino were allowed to remain. Raphael. 1 9 These works gave full scope to the powers of the artist ; and they not only exhibit the loftiness of his genius, but the most profound thought and study. The world of classic art was now open to him ; and he was also stimulated by the works of Michael Ans'elo, who, at about the same time, be^an the decoration of the Sistine Chapel. It is said that the young painter frequently observed that he considered himself fortunate to have lived in the time of Michael Angelo. There have been stories of a rivalry, amounting almost to enmity, between the two artists ; but they seem to have no foundation in truth, and are now generally discarded as unworthy of both. Anecdotes which have been related as favoring such a belief prove rather a familiarity of intercourse between them, and there are certainly as well authenticated records of their mutual admiration and kindness. The frescos with which Raphael adorned the Stanze and Loggie of the Vatican occupied a large part of his time for the remainder of his life, and were completed by his pupils after his death. These works have been the inspiration of ages ; and though now so faded and damaged, and in many portions well-nigh destroyed, they are still a world of marvels to both artist and scholar. During the production of the Vatican frescos, many parts -of which were left to his pupils, the master executed numerous other commissions. Among his easel- pictures painted during the first three years of his residence in Rome, are several fine portraits, one of the most noteworthy of which is that of Julius II., which was placed in the Church of Santa Maria del Popolo. The Pope is seated in an arm- chair, in an easy attitude, the head inclined slightly forward, the face wearing a thoughtful and benignant expression, his white beard falling upon his breast. The original is in the Pitti Palace in Florence, but there are various copies of it. A Holy Family, also painted for the Santa Maria del Popolo, was produced at about the same time. It became known as the Madonna di Loreto, for the reason that it was afterwards placed in the church at Loreto. There are numerous copies of it, but the original has disappeared. To this early Roman period, also belong the Madonna di Foligno and the Madonna of the Alba Family. A celebrated picture of this period is that known as the " Fornarina," in the Barberini Gallery in Rome, 20 Raphael. supposed to represent the mistress of Raphael. It has been the subject of much dispute and speculation ; and though generally regarded as the portrait of the young Margherita, to whom, Vasari tells us, Raphael was attached, and for whom he provided in his will, nothing certain is known about it. The title of La Fornarina (baker's daughter) was bestowed upon it about the middle of the eighteenth century. A portrait of a beautiful woman, in the Tribune of the Uffizi, in Florence, called " Raphael's Mistress," has been supposed to represent the same person at a later period of life ; but this seems impossible from the absence of any resemblance between them, and it is now considered doubtful whether the latter is even by the hand of Raphael. The death of Julius II. occurred in 15 13; but the labors of Raphael were scarcely interrupted, for Leo X. was not less the friend and patron of art. The artist, having attained wealth and position, built for himself a house on the Via di Borgo Nuova, near the Vatican. It was constructed by Bramante from Raphael's plans ; and, though only a small portion of the building now remains, the simple elegance of its structure is known by an engraving. But little is known regarding the domestic life of Raphael. A letter from his hand, written in 15 14, states that Bernardo Divizio da Bibiena, with whom he had formed a friendship at Urbino, and who had been created a cardinal by Leo X., offered the painter the hand of his niece Maria in marriage. The compact for this marriage existed for years ; and whether Raphael was disinclined to the alliance, or whether the delicate health of the lady prevented its consummation, is not known. But her death occurred before Raphael's, and an inscription to her memory has a place upon the tomb which he had chosen for himself in the Pantheon. Besides the marvellous frescos of the Vatican, Raphael executed, by order of the wealthy banker Agostino Chigi, frescos for the churches of Santa Maria della Pace and of Santa Maria del Popolo. For the Chigi Palace he executed his famous fresco of Galatea. Crowded with all these undertakings, the tireless worker was destined to be still further taxed. In 15 14 occurred the death of Bramante, the architect of St. Peter's. He had before his death recommended Raphael as Raphael. 2 1 his successor ; and the appointment was formally made. The model which Raphael designed for St. Peter's was admired ; and, though it has been lost, plans and engravings of it exist. The opinion has been expressed, that, had this design been realized, the effect would have been richer and of greater repose, as a whole, than that of Michael Angelo. Various other works in architecture were executed or designed by Raphael. The court of San Damaso of the Vatican was built from his plans, and several fine dwellings in the Borgo San Pietro, which were after- wards destroyed to make room for the colonnades of St. Peter's. From time to time Raphael continued to represent his favorite subject of the Madonna and Child ; and, though always noble and beautiful, these compositions are characterized by the greatest variety of conception and treatment. About 15 15 he painted his celebrated altar-piece, the St. Cecilia, now in the gallery at Bologna. The figures which form this group are perhaps the most remarkable for antique beauty of any of his productions. While the later frescos in the Stanze of the Vatican, and the decorations of the Loggie, were in progress, Raphael painted his famous cartoons for the tapestries intended to adorn the walls of the Sistine Chapel. Seven of these superb pictures have descended to us, and form the noblest series of illustrations of Christian art in the world. (They are preserved with great care in the South Kensington Museum in London.) Besides these immense undertakings, he exe- cuted altar-pieces and various smaller easel-pictures, including a number of por- traits. Many of his Holy Families and Madonnas belong to this period, among them the beautiful Madonna called the " Pearl," and the Madonna della Sedia, which, next to the San Sisto Madonna, is the most universal favorite. The Madonna with the Candelabra (now in England) also belongs to this Roman period. In 15 iS he painted the Madonna di San Sisto. the last picture of this subject which he painted, and the most beautiful of all. Raphael's last oil-painting, and in some respects the most sublime of his creations, was the Transfiguration, painted, by order of Cardinal Giulio de' Medici, for the Cathedral of Narbonne. He did not, however, live to complete it ; and it 2 2 Raphael. was destined to suffer, to some extent, from the inharmonious work of his assistants, and from the worse handling of late " restorers." The composition is divided into two entirely distinct parts ; yet they are united in conveying to the mind one great truth, — human need and divine power. In the combination, Raphael has been charged with overstepping the bounds of propriety, and committing an offence against chronology, by representing arbitrarily the action of two different moments. But it must be recollected, that, in the lower part of the picture, he has repre- sented, not the cure of the demoniac, but his presentation to the disciples by the afflicted father, in the hope of relief. The narrative tells us, that, when Jesus had come down from the Mount of Transfiguration, the father came, kneeling down to him, and saying, " I brought him to thy disciples, and the)' could not cure him." There is nothing which hints that the sad scene which the painter has represented might not have taken place at the very moment when Peter and James and John were beholding the vision of the transfigured Saviour. And how could the fact that Jesus was the Son of God, and the Saviour of humanity, be more vividly presented than by portraying the heavenly vision upon Mount Tabor, and, at the same moment, the extremity of earthly suffering which human aid is powerless to reach ? During the last years of Raphael's life he was much occupied in researches among the Roman ruins. In compliance with the wishes of Leo X., he made drawings of the ancient buildings, accompanying them with careful descriptions. He did not restrict himself to Rome and its environs, but sent artists to all parts of Italy and to Greece to collect studies from ancient monuments. But this active life was hastening to its close. In the midst of vast undertakings, and while, no doubt, his imagination crowded the future with still greater achievements, he was suddenly seized with a fatal fever, contracted, probably, during his subter- ranean researches. He died on the anniversary of his birth, April 6, 1520, and was buried in the Pantheon, where he had some time before chosen his tomb, causing one of the chapels to be restored for the purpose. All Italy mourned for her gifted son, while every honor was paid to his name and memory. And ■ ■ ■ Raphael. 23 not alone to art was the loss irreparable, but to a multitude of personal friends, many of them the most eminent men of the time, whom he had won by his noble qualities of mind and heart. The stories of his immorality and dissipation which were once current have been silenced by evidences which late historians have put before us, though the number and character of his works should be a sufficient refutation. It is proved, that, in the midst of temptations to luxury and license, he led a life of singular purity and innocence, that he was " better than his times." It is impossible to write a fitting sketch of such a life. His immortal works are the fittest record of his life ; and in these can his character best be studied. The biographer can give the date of his birth and of his death, and an outline of the circumstances of his life : but it is in his matchless creations alone that we can really know and estimate the man ; these are his true history and his enduring monument. " ~' ' " g r .J^^l^-r 1 - -!- -'- -I- ■!- -'- - 1 - -^-.^.^^l^^^ag MADONNAS AND HOLY FAMILIES. N all Italy there is scarcely a town which presents more strikingly the aspect of desolation and departed grandeur than Urbino. The churches, the houses, the streets, seem deserted, and in dreary harmony with the bare and barren hills which surround the city. The vast palace — now unused, or used for humble purposes — shows only here and there fragments of the exquisite decorations which made it famous in the prosperous days of the province, when this was one of the most brilliant courts of Europe. Yet this desolate spot is visited with veneration by travellers from all lands, not for its bygone splendor, but because it was the birthplace of the most beloved painter of all ages, Raphael Saxti. On the steep hillside rising from the market-place, in the Contrada del Monte, now called Contrada Raffaello, stands the house purchased by the grandfather of Raphael in 1464. Giovanni Santi, in a communication to the Duke of Urbino, tells sadly of the destruction of the " home nest " at Colbordolo by the followers of the tyrant Sigismund Malatesta, and of the removal of the family to the compara- tive security of Urbino. In the course of years, by patient labor and thrift, they became possessed of the property in the Contrada del Monte, which remained for generations in the family. It was a modest dwelling, the basement of which was used as a shop. In the seventeenth century an architect of Urbino, Muzio Oddi, 26 Raphael. who became proprietor of a portion of the building, placed upon the wall the following commemorative inscription : — NVNQVAM MORITVRVS EXIGVIS HISCE IN /EDIBVS EXIMIVS ILLE PICTOR RAPHAEL NATVS EST OCT. ID. APR. AN. MCDXXCIII VENERARE IGITVR HOSPES NOMEN ET GENIVM LOCI NE MIRERE LVDIT IN HVMANIS DIVINA POTENTIA REBVS ET S/EPE IN PARVIS CLAVDERE MAGNA SOLET. In 1S73 the Casa da Raffacllo became the property of the Academy of Urbino. The interior, we may suppose, is as it was in the childhood of Raphael ; and the room in which he was born, a large apartment with brick floor and panelled ceiling, has lately been furnished in the style of that time, and deco- rated with prints and photographs from his pictures. In this room is the faded fresco, once called a Madonna and Child, in which Giovanni Santi represented his wife Magia and the infant Raphael. The young mother is seated, reading a book, which is before her on a sort of reading-desk, the child on her lap asleep, his head resting on his crossed arms. There are no halos around the heads, which would indicate that it was not intended to represent the Virgin and Infant Jesus. This touching picture was no doubt the earliest one familiar to the childish eyes of Raphael ; and it is an affecting reminder that all his life the subject he loved best to portray was the tender mother-love he so early lost. In his father's studio he early became familiar with the representations of the Virgin and Child in the altar-pieces which Giovanni constantly painted ; and some of these seem the pre- cursors of those of Raphael. For one of the churches of Umbria, Giovanni Madonnas and Holy Families. 27 painted a Madonna and Child, in which die Child is holding a captive bird with one hand, while he raises the other in benediction. These early impressions were perhaps the germs which expanded into the living beauty of Raphael's productions in his manhood. He owed much to his father, it is evident ; for he did not receive such impressions from his master. Perugino, though always exhibiting a lofty religious sentiment, never portrayed any excessive human affection. In all Raphael's representations, there is something intensely human ; and for this reason alone his power over humanity could never diminish. In the quality of expression and in the reflection of human feelings, his works have never been equalled ; and especially in those of his earliest and of his latest, or Roman, period, there is not wanting a fervent religious feeling. It was in his Madonnas and Holy Families that his peculiar powers found their highest development, notwithstanding the great works upon which he was employed in Rome. From the earliest period of his artistdife he was most fond of this class of subjects, and his productions are manifold in number and variety. They charm by their portrayal of the tenderest relations of life, while they lift the thoughts to something yet higher and holier. Mary is not only the fond mother, but the one "blessed among women," consecrated by the deepest joys and sorrows; and the Divine Child not only represents the beauty and innocence of childhood, but there is something in the look which expresses a conscious- ness of his sacred mission. And in all his representations Raphael never repeated himself: each one has the freshness of a new creation, and brings to the spectator something of the delight with which the artist wrought out the emotions of his heart and the visions of his fancy. And not in his finished pictures alone are shown his versatility and ceaseless industry : numberless drawings and sketches are in existence showing the variety of ideas which crowded his brain, and the painstaking preliminary study he gave to ever}- composition he produced. They are of vast interest as a clew to the intricate processes of his mind, and many of them have almost the charm of his finished works. ?">"> ' ' ' r ' s y~ V .f"x<-y^yyyxy>xyy ^~> > r r s ' ' s * S * > .■ *> > — > y , °i ^= , ~T f , > .- T>- > i "-_:'"' ... _> " ... .._ ..... v v -i- s- r v> ->" ^" ■-:•-■ -v- -:■ -.- -.•- <•:- v- -.- ■:- s> -.» s-< 6^"~" ^ ^ ^ ■^^P PAINTED UNDER PERUGINO. THE MADONNA OF THE SOLLY COLLECTION. APHAEL painted this picture while he was almost wholly under the influence of his master. At this period he either copied the pic- tures of Perugino with slight variation, or painted his own com- positions almost entirely in the style of his master, and according to the traditions of the early schools ; although they show a finer observation of nature, and a tinge of the individuality which soon became so marked. In this picture the Virgin is seated, reading : the Child on her lap, in a somewhat affected attitude, one foot resting in her hand, looks up at the book, holding a goldfinch with his left hand, and the string which fastens the bird with his right. The attitude of the Virgin is simple and unaffected, and her face has an expression of repose. The features are very small : the hands are large, and not tapering in shape. The Child is not beautiful : he is stout in form, with a round head. Upon the left shoulder of the Virgin is a golden star upon the blue ground of her mantle, following the traditional style of decoration in the art of the primi- tive Church. A sketch resembling this picture, in the Louvre, is of a more graceful conception. The Virgin has a more thoughtful expression ; and the Child is looking downwards, instead of at the book. The picture, formerly in the Solly Collection in London, is now in the Museum of Berlin. Painted on wood. Height 24^ inches, width 16 inches. 2S Madonnas and Holy Families. 29 THE MADONNA OF THE COUNTESS ALFANI. The Virgin, in profile, is holding the Child with both hands as he stands upon her lap, clinging with the right hand to a thin veil which covers her breast. The face of the Child wears a sweet expression as he looks towards the spectator. Above are painted two cherub heads. This is according to the custom of Giovanni Santi ; and in these early works of Raphael may be traced other reminiscences of his father's manner. This picture is animated by a very pleasing sentiment, and is of a peculiar finish, though still showing strongly the influence of Perugino. It was formerly in the house of the Countess Anna Alfani, at Perugia : it is now at Terni, in the possession of the Countess Beatrice Fabrizi, heiress of the Countess Alfani. Painted on wood. Height 19! inches, width 13 inches. THE MADONNA WITH SS. JEROME AND FRANCIS. The Virgin is seated, holding the Child on a richly embroidered cushion on her knees, and looking at him with an expression of the deepest feeling ; while he, clasping his mother's hand with his left, is raising the right hand in bene- diction. The Virgin has a mantle drawn over her head, under which is a white veil covering the hair, recalling the Virgins of the early centuries of Christianity : the gold ornaments, too, recall the Byzantine style. Like the Solly Madonna, the large golden star is on the left shoulder. St. Jerome is kneeling at the left, and St. Francis at the right : in the distance is a town at the foot of a high moun- tain. This is a picture of very careful finish and of rich coloring. The heads of the two saints are excellent, and the general arrangement of the composition is agreeable. The picture has changed hands several times, but since 1820 it has been in the Berlin Museum. Painted on wood. Height 14 inches, width 11 J inches. I o Raphael. THE MADONNA OF COUNT STAFFA. ALSO KNOWN AS THE "MADONNA OF THE CONESTABILE." The Virgin (a half-figure) stands in a landscape, reading in a little book, which the Child in her arms also grasps. It is early spring-time. The trees are still bare, and the distant mountains are covered with snow. The expression of the Virgin, in face and attitude, shows a remarkable development of the artist's powers ; and the Child is lovely. The picture is circular ; but the four angles of the square panel are of a black ground, ornamented with arabesque figures in red. Such ornaments are not met with later in Raphael's works. A study for this Madonna is in the Berlin Museum. It represents the Virgin standing in a landscape : a veil covers her forehead and hair, over which a mantle is drawn. She is sustaining the Infant with her left hand, and holding a pomegranate in her right hand, with which he is playing. The picture was painted for Count Staffa, and was an heirloom in the family at Perugia, preserved in the house of the Conestabile della Staffa. In 187 1 it was sold by Count Scipione Cones- tabile to the Empress of Russia. The panel upon which it was painted became cracked after its removal to St. Petersburg, and it was transferred to canvas by the artist Sidoroff. In the process it was discovered that the picture had originally been drawn upon the panel according to the cartoon at Berlin : the outline of the hand and the pomegranate could be seen. Painted on wood, afterwards transferred to canvas. 6f inches square. THE MADONNA OF THE DIOTALEVI FAMILY. This picture, painted in the early manner of Raphael, represents the Virgin seated, holding the Child upon her left knee, and looking down upon the little St. John, who is partly visible at the right. This is the last of Raphael's paint- ings of this subject which show a marked dependence upon the style of his master. It was long in the Diotalevi family of Rimini, and was formerly attrib- uted to Peruoqno. It is now in the Berlin Museum. Painted on wood. Height 27-J- inches, width 19 J inches. ag ggw-^...^...™.. «*. .^. .^^■FtSKRf^s. ..«-., \^& :'■'. :, i_. ^ " "-C i*"* c J' '"^ 5f ' '"Vi ir" 'C>'' '^L'&~* -X: ^>"" ' ■ii*'"' ' *- >"* "" ■ «: -j -•' 'a >j ■ ■ < j , _ . '■ - ■' -. ^ ■ , . \. ■_. - ■;»' "flXS™ «fis" "«(r ti"' - --^oV THE FLORENTINE PERIOD. THE MADONNA DEL GRAN DUCA. jMONG the earliest pictures painted in Florence is the Gran Duca. The Virgin is standing, holding the Infant on her left arm : the Child is looking towards the spectator, and resting- his right hand upon his mother's breast. This picture, while still resembling the style of Perugino, is strongly marked by Raphael's own genius, and possesses a charm which is wanting in all his previous Madonnas. The figure of the Virgin, in a blue mantle, stands out distinctly against the background. Her gentle face wears a look of pensive meditation mingled with the most tender maternal affec- tion. The sweet, penetrating expression upon the Child's face recalls the look which shines forth from the face of the Infant of the Sistine Madonna. There is a freedom and beauty in this representation that is entirely unknown in the productions of the Umbrian school, and the coloring is clear and brilliant. The Virgin is not less modest and chaste than those of the early types, and the air of devoutness is not less accented ; but there is a greatly increased individuality, and the Child has a fulness of life, a grace and ease, which are quite new. A number of sketches evidently relating to this Madonna show the care and feeling with which it was produced. Not much is known of the history of this picture, except that it once 31 3 2 Raphael. belonged to the painter Carlo Dolce, and was bought in 1799 by Ferdinand III., Grand Duke of Tuscany: hence its present title. The grand duke became so much attached to it that he carried it with him in all his travels, and it was his companion in exile. Since 1859 it has been in the Pitti Gallery in Florence. Painted on wood. Height 27^ inches, width 21 \ inches. THE MADONNA OF THE DUKES OF TERRANUOVA. The Virgin is seated in a landscape, with the Child on her lap : St. John on the left is looking up at him, and offering a scroll, on which is written, " Ecce Amines Dei!" A third child, with a halo around his head, leans against the Virgin. In this group are combined the tenderness of the early style with the freedom of the new. On the left is represented a bowlder, and in the distance is a walled town with spires. Until 1854 this picture remained in the possession of the dukes of Terranuova at Genoa and at Naples, when it was purchased for the Museum of Berlin. Painted on wood. Circular, 35 inches in diameter. THE MADONNA OF LORD COWPER. This picture is sometimes designated as " The Small Madonna of Lord Cowper," as there are two in the same collection. It is a composition of much simplicity and spontaneous feeling. The Virgin is seated in profile view, near a wall, holding the Child, who is resting one foot in her outspread palm, and clinging to her with both hands. The face of the Madonna is expressive of great maternal tenderness, and the movement of the Infant Jesus is natural and of infantine grace. There is a landscape background ; in the distance a church with dome and campanile. The execution is of extreme lightness. The picture Madonnas and Holy Families. 3? o was preserved at Urbino until purchased by Lord Cowper while English ambas- sador at the court of Tuscany. It is in his collection at Panshanger. Painted on wood. Height 25^ inches, width 18 inches. THE MADONNA OF ST. ANTHONY. This was an altar-piece painted for the Convent of S. Antonio at Perugia, of which the central picture is a representation of the Madonna and Child. The Virgin is seated, holding the Infant Christ, upon a throne, with a canopy above. The young St. John is upon the steps of the throne, in the attitude of worship ; and the Child is raising his right hand in benediction. Upon the left stand Ste. Catherine and St. Peter ; upon the right, Ste. Margaret and St. Paul. The work consisted also of a lunette and predella pictures. The vestments of the Virgin are after the old Umbrian style ; and in various ways the composi- tion and execution indicate that it was commenced under the Peruginesque influ- ence, and finished in the Florentine period. It is now in the National Gallery in London. Painted on wood. Figures two-thirds the size of life. THE MADONNA OF THE ANSIDEI FAMILY. This is a large altar-piece with full-length figures rather less than life-size. The Virgin, enthroned, is holding the Child, and reading; in a book, at which he also gazes intently. At the left is St. John the Baptist, represented at the age of manhood, pointing toward the Saviour with the right hand, and holding the cross with the left. Upon the other side is Bishop Nicholas de Bari, reading the Scriptures. It is a picture of exceeding beauty and repose. It was executed for the Ansidei family, to be placed in the Chapel of St. Nicholas in the Church of S. Fiorenzo at Perugia. The picture was purchased from the Church 34 Raphael. of S. Fiorenzo by Lord Robert Spenser ; and a copy was put in its place, which is still to be seen there. Lord Spenser presented it to his brother, the Duke of Marlborough ; and it is now at Blenheim. Its predella pictures, representing scenes from the life of St. John, are in different collections. THE MADONNA DEL CARDELLINO (MADONNA WITH THE GOLDFINCH). This delightful picture was painted for Lorenzo Nasi, a patrician of Florence, a warm friend and admirer of Raphael. Vasari tells us that it was intended for the weddincr of his friend. The figures are full-length, half life-size. The Virgin is seated, holding a book, and looking down with loving seriousness at St. John, who is offering a goldfinch to the Infant Saviour, who places one hand over it with a very tender and protecting gesture. The restful pose of the Infant Christ is in marked contrast with the eager, impulsive attitude and expression of St. John. All three figures are beautiful, and full of expression ; and it is a scene of perfect happiness. The head of the Virgin has a classic grace, and the features are of the purest beauty. The composition of the group is in the pyramidal iorm, according to the precepts and practice of the Florentine artists. A charming landscape forms the setting. The flowers in the foreground are chiefly white, perhaps because it was a wedding-picture. In the distance is the city of Florence, in which the campanile and the dome of the cathedral are conspicuous. The picture was crushed by the falling of the Nasi Palace, in 1547, into many pieces ; but they were joined together, and the picture was restored, with marvellous skill. It is now among the gems of art in the Tribune of the Uffizi at Florence. Painted on wood. Height 39!- inches, width 31 inches. Madonnas and Holy Families. 35 THE MADONNA IN THE MEADOW. ALSO CALLED THE "MADONNA AL VERDE." This is named from the flower-sprinkled meadow in the foreground. The Virgin is seated, supporting the Infant Christ, who is standing before her. The little St. John is kneeling at her side, and offering a reed cross to the Saviour, who grasps it in his right hand, and looks with a grave, sweet expression upon the donor. The two children are most lifelike in air and movement. It resem- bles the Madonna del Cardellino in many points, and the arrangement is of even greater symmetry. In the far-off distance is a lake with hills : at the right is a town. The picture was painted for Taddeo Taddei, a wealthy Florentine. It was sold by the Taddei family to Ferdinand, Archduke of Austria; in 1773 it passed into the Imperial Collection, the Belvedere at Vienna, where it remains. Painted on wood. Height 44J inches, width 34^ inches. THE HOLY FAMILY UNDER THE PALM-TREE. This is one of Raphael's earliest Holy Families, and in conception and execu- tion there are reminiscences of the school of Perugino. It was also painted for his patron, Taddeo Taddei. The Virgin is seated under a palm-tree, holding the Child upon her knees. Joseph is kneeling before them, offering clusters of flowers to the Child, who stretches out both hands to receive them. The face of the Infant Christ is of great sweetness ; and the figure of Joseph, smiling and benignant, is a fine study. The picture has seen many vicissitudes, and is now in the Bridgewater Gallery in London. Painted on wood, afterwards transferred to canvas. Circular, 42J inches in diameter. Raphael. THE HOLY FAMILY WITH THE BEARDLESS ST. JOSEPH. SOMETIMES CALLED THE -MADONNA OF ST. PETERSBURG:' OR -HOLY FAMILY OF ST. PETERSBURG." This group is very similar to the one last described, and was probably painted at about the same time. The group is represented in a palace : the Virgin bends over the Child, holding his left loot in her hand, while he clings to her with one hand, resting the other on her lap. St. Joseph, at the left, leaning on his staff, is the counterpart of that personage in the Holv Family under the Palm-Tree, except that he is here represented with no beard. A landscape is seen through an arched -window. The picture has been considera- bly injured. It is now at St. Petersburg. Painted on wood. Height 27 inches, width 21 J inches. THE MADONNA DELLA TEMPI. This valuable picture was long neglected, and covered with dust, in the Casa Tempi in Florence. It represents the Virgin standing, holding the Child pressed closely to her breast, with his face against hers. It is not so remarkable for its relicrious sentiment, but it is one of the most deliohtiul rendering's of maternal affection. The aspect of the simple group is bright, happy, almost mirthful ; and the lively coloring adds to the cheerful harmony of the picture. There is no reminiscence of the Peruginesque style here. It is purely Florentine, and strongly partakes of the characteristics of Leonardo da Vinci. The Virgin is shown nearly in profile, but the Child turns to look towards the spectator as he clings to his mother. He has almost the noble beauty of the Infant Christ in the Madonna della Sedia. Eugene Muntz says, " Ce sont des beautes qu'il est plus facile de sentir que d'analyser." Soon after the discovery of the picture in the Casa Tempi it was purchased by Louis of Bavaria for the Pinakothek at Munich. It is in good preservation. Painted on wood. Height 30 inches, width 20J inches. Madonnas and Holy Families. 57 THE MADONNA OF THE ORLEANS GALLERY. The Virgin is seated, with the Child upon her lap. He is half recumbent, clinging to the bosom of her dress, and looking out of the picture with a grave expression. The Virgin bends over him in an attitude of melancholy tenderness, holding one foot in her hand. She is youthful and beautiful, and with an expres- sion of chastened resignation that is most touching. The simplicity of her attire is in keeping, as well as the air of the somewhat homely room in which she sits. Unlike other pictures of this period, the coloring is of a low tone, and marked by delicate shading. Its picturesque though simple arrangement, its graceful lines, and exquisite treatment, render it one of the most charming of Raphael's Madonnas. The accessories, not in the usual style of the painter, have given rise to the opinion that they were a later addition, and by another hand ; but there seems no sufficient foundation for it. It is supposed to have been painted for Duke Guidobaldo of Urbino, but it has changed hands many times. It was once in the Orleans Gallery, from which it is named, and is now in the possession of the Due d'Aumale at Chantilly. It is in perfect preservation. Painted on wood. Height nj inches, width Si inches. THE HOLY FAMILY OF THE CANIGIANI FAMILY. This is a very beautiful composition, though the painting exhibits in some respects the imperfections of the artist's earlier time. It is of a peculiar style of grouping: the Virgin is half sitting, half kneeling, holding the Infant Christ with one hand, with a small book in the other. On one side kneels Ste. Elisa- beth with St. John before her : behind them stands Joseph, leaning on a staff, completing the group in the form of a pyramid. The common feeling which ani- mates them all gives the picture a peculiar interest. The Virgin has been reading with the Child on her lap, evidently : he has slipped to the ground, and is offering a scroll to his young companion, to whom he is raising his face with an expression J 8 Raphael. of sweetness and innocence. The mother bends forward with an interested look ; and Elisabeth raises her face inquiringly to Joseph, who leans heavily on his staff, and looks down upon the children with a grave face. St. John seems to hesitate and draw back at sight of the significant words upon the scroll: " Eccc Agnus Dei!" Both children are lovely, but the contrast between them is marked. "The difference of years and race between the Baptist and Christ is marked in that noble way which so eminently stamps Raphael's genius, who would naturally strive to give the Saviour a more refined air and more graceful proportions than his companion." * There is an irregular landscape, a town with towers and turrets, and mountains in the distance. The somewhat stiff regularity of the picture was originally relieved by the presence of three small angels in the clouds above the group ; but, having been much injured in the cleaning of the painting, they have now been removed entirely. This Holy Family was painted for Domenico Canigiani of Florence, and was at one time in the Uffizi. It was presented to the Princess Anna Maria de' Medici on her marriage with Johann Wilhelm, Elector of the Palatinate, and is now in the Pinakothek at Munich. Painted on wood. Height 51^ inches, width 42 inches. THE HOLY FAMILY WITH JESUS SEATED ON A LAMB. This is a somewhat injured but very attractive picture, in some points resem- bling that of the Canigiani Holy Family. The Virgin, half kneeling, is holding the Infant on a lamb, which cowers to support the weight. Joseph stands by, looking upon them as he leans wearily upon his staff. There is a very beautiful and elabo- rately painted landscape, and in the distance the flight into Egypt is represented in miniature. It is by some supposed that this composition was suggested to Raphael by Leonardo's picture of Ste. Anne with the Virgin and Child and the Lamb (now in the Louvre). The painting was for a long time in the Oratorio of the Escurial at Madrid, quite unnoticed. The Infant Don Sebastian, who was fond of art, one 1 Crowe and Cavalcaselle. Madonnas and Holy Families. 39 day saw it, and appreciated its beauty: on examination, the signature of Raphael was found. We have no means of tracing its earlier history, or the manner of its transportation to Spain. It is in the Museum of Madrid. Upon the border of the Virgin's dress is inscribed in gold : " Raphael Vrbinas MDVII." Numerous designs, evidently for this picture, are in European collections. Painted on wood. Height 1 1 \ inches, width S j inches. THE MADONNA WITH THE PINK. A small, beautiful picture, now only known through copies. The Virgin is seated in a room, holding the Child, to whom she is offering a pink, and who is looking up to her. It is said in reference to this picture, in the new and exhaustive work of Crowe and Cavalcaselle, 1 "It has been usual to believe that where Raphael- esque Madonnas are preserved, of which no single example bears the master's true sign-manual, it may be presumed that the original has perished; yet we may suppose, that, in many such cases, Raphael never painted an original at all, but left the design exclusively to the care of his subordinates. An early specimen of this kind is the 'Madonna with the Pink.'" A fine example of this picture is in the collection of Count Spada at Lucca, and there are several in different collec- tions in Rome. This picture at Lucca is painted on wood. Height n^ inches, width 9 inches. THE MADONNA DELLA CASA NICCOLINI. ALSO CALLED THE "LARGE MADONNA OF LORD COWPER." The Virgin, seated, in nearly profile view, is bending slightly towards the Child, who is sitting upon a white cushion on her lap, holding the bosom ol his mother's dress with his left hand, and looking towards the spectator. The countenance of the Virgin is very sweet, and that of the Child has an expression of joyousness 1 Raphael, his Life and Works. 1S82. 40 Raphael. and gayety that is contagious. In this picture Raphael has represented the Mother and Child under natural and ordinary aspects, and there is scarcely any appeal to a higher than human sentiment. It is charming' with the "race of nature, and there is a strength and a beauty in the figures of both which exalt it to a high rank among the Madonnas of this class. The drawing is perfect, and the picture is in good preservation. It was purchased of the Niccolini family in Florence by Lord Cowper when he was ambassador to the court of Tuscan)', and it is in his collection at Panshanger. Painted on wood. Figure to the knees ; life size. THE MADONNA WITH THE SLEEPING CHILD. The original of this is unknown, but there are many copies. The Virgin is bending over the sleeping Child, and raising a veil which covers him. St. John is kneeling near, and pointing with his hand at the spectator with a joyful expression of countenance. In the distance is seen a monastery on the right and a town on the left. In the Virgin with the Diadem the composition is very similar. The cartoon for the picture, without the landscape, is in the Academy of Florence. Figures two-thirds the size of life. THE MADONNA Dl CASA COLONNA. This is a valuable though unfinished picture. In the opinion of Messrs. Crowe and Cavalcaselle, it does not belong to Raphael's Florentine period, but was com- menced at Perugia, and left incomplete. It is a very spirited picture, expressing fervent maternal love, and a childish, winning gayety. The Virgin is seated, with a book in one hand, from which her attention is just turned by the Child on her lap, who is clinging to her dress, and trying to lift himself up. He looks smilingly towards the spectator ; and the mother, raising the book in her left hand, looks serenely at him. A number of sketches reveal the thoughts of the artist as he Madonnas and Holy Families. 41 labored to produce this beautiful group, so simple, yet expressing the highest art. The Virgin is less majestic than is usual, but she is very lovely. Her hair and the arrangement of her simple attire are extremely graceful. It once belonged to the family of the Salviati in Florence, but passed into the possession of the Colonna family in Rome, of whom it was purchased for the Prussian Government by Baron Bunsen, and is now in the Berlin Museum. Painted on wood. Height 317} inches, width 26 inches. LA BELLE JARDINIERE (LA BELLA GIARDINIERA). This composition is one of Raphael's most poetic inspirations, and the stiff- ness which characterized many of his previous representations of the subject has wholly disappeared. The tender grace of the group could not be surpassed, and the heads especially are full of beauty and expression. The picture may have derived its name from the landscape, filled with plants and flowers, in which the Madonna is seated, or, as some believe, from the simplicity of her dress, like that of a peasant. It would seem to take its name most naturally from the landscape, enriched with innumerable flowers and plants, which forms the setting ot the group, painted with a care and enthusiasm that is nowhere else to be found in Raphael's pictures: every flower, leaf, and tuft of grass, is elaborated with marvellous fidelity and grace. There is a town in the distance, beyond which are mountains with a lake at their base : it is overflowing- with the beauties of nature. The Virgin, a majestic figure, is seated, her face turned a little to one side ; the Child stands leaning against her ; while St. John kneels at the other side, holding his cross, and looking up at Jesus with an expression of devout admiration. It is something more than a picture of smiling content and happy communion. There is a mournful depth in the expression of the Virgin's face as she looks downward, apparently absorbed in contemplation of the mystery which surrounds the life of her Son ; and there is inexpressible love in the manner in which she rests one hand on his shoulder, and clasps his arm with the other. He rests one hand against her knee, and balances 42 Raphael. himself with both feet upon one of hers, and looks up in her face with an answer- ing sympathy while his fingers touch the book which lies closed in her lap. There is an instinctive humility in the attitude of St. John as he watches this mysterious communion. There are many copies of La Belle Jardiniere, and there is much discussion in regard to the original. According to the best authorities, Raphael left it unfinished when he went to Rome, and it was completed by Ridolfo Ghirlandajo : the Virgin's mantle is not painted in the style of Raphael, which would seem to prove the statement. It was purchased by Francis I. of Filippo Sergardi, a Siennese, who had ordered it of Raphael ; and it is now in the Louvre. An arched picture, painted on wood. Height 46^ inches, width 37^ inches. THE MADONNA DEL BALDACCHINO (CANOPY). SOMETIMES CALLED THE 'MADONNA Dl PESCIA." This large altar-piece was painted for the chapel of the Dei family in the Church of S. Spirito in Florence, though it was never placed there. It is a grand composition, and the fruit of much study, as is proved by the sketches which exist. The Virgin is seated on a throne, in a niche, holding the Child closely in her arms. Her eyes are cast down ; and she appears to be absorbed in the thoughts of her Son, who turns with an interested and smiling look towards the sacred per- sonages, St. Peter and St. Bruno, who are standing upon the left. St. James the Less (or St. Anthony) and St. Augustine are standing upon the right. At the foot of the throne are two small angels, singing. They are very beautiful, and ot natural and graceful movement. Above, two attendant angels are drawing aside the curtains of a canopy. The picture was painted in imitation of the style of Fra Bartolommeo, or under the influence of that master's works. " If we trace the friar's lessons in the attitudes of the figures and the solemn grandeur of their gestures and draper}-, the close connection of the two masters is yet more marked in the two seraphs who look down at the Virgin as they fly, and lift the hangings Madonnas and Holy Families. 43 of the conical dais. Never till now had Raphael ventured upon such daring fore- shortenings as the bird-like being to the left, or the profiled messenger to the right, display. The contrast of their Might and motion with the stillness and calm of the groups below is perfect ; and the shapes have acquired a grace, a lightness and elegance, which Fra Bartolommeo was incapable of equalling, much less of surpassing." 1 The picture was unfinished when Raphael went to Rome; and after his death, his pupils and heirs, Giulio Romano and Francesco Penni, sold it to the president of the Pope's Chancery, Baldassare Turini, who placed it in the Cathe- dral of Pescia, his native town. In 1697 it xvas purchased by the Grand Duke of Tuscany, and its place in the church was filled by a copy. It was carried to France by Napoleon, and returned to Italy after the treaty of 181 5, and is now in the Pitti Gallery. In coloring it is rich and beautiful, though somewhat damaged by cleaning and restorations. Painted on wood. Height 12S5 inches, width 76! inches. THE MADONNA OF THE ESTERHAZY GALLERY. This attractive little picture is scarcely more than a sketch. The Infant Christ is seated on a hillock ; and the Virgin kneels before him, holding him with both hands, and looking down at St. John, who is kneeling on the left, reading from a parchment scroll the words : " Ecce Agnus Dei!" The Infant leans over his mother's arm, and endeavors to grasp the scroll. There is a landscape background, with trees and ruins, and a mountain on the right. As a composition it is well-nigh perfect. The picture was presented to the Empress Elizabeth by Pope Clement XL, of the Albani family : it afterwards passed into the possession of the Esterhazy family, and was one of the treasures of the Esterhazy Gallery in Vienna. The whole collection was lately purchased by Hungary, and in 1S65 was removed to the new Academy at Pesth. Painted on wood. Height 10 inches, width 8 inches. 1 Crowe and Cavalcaselle : Raphael, his Life and Works. 1SS2. J "" r - L - '. -1. .'- -'. THE ROMAN PERIOD. THE MADONNA OF THE ALBA FAMILY. HIS picture is believed to have been painted soon after Raphael's arrival in Rome. It is closely allied in composition and style to those of the Florentine period. The Virgin is sitting upon the "round, holding: in her hand a book which she has closed, her fineer still between the leaves. The Child, who is of wonderful grace and beauty, sits upon her lap, with one foot resting on the grass. St. John is kneeling before his divine companion, and offering a small cross, which he grasps with his right hand. The Madonna looks upon them with an expression of thoughtful feeling. There is nothing here of the religious mysticism which characterized his representations while under the influence of the Umbrian traditions ; yet it is marked by that ele- vated style from which he never departed, even in his simplest pictures of the Madonna. The faces of the children are both remarkable for a sweet seriousness. There is a carefully painted landscape. Flowers are blossoming around the group, and trees and distant mountains form a restful background. The picture is in good preservation, though the landscape was at one time entirely painted over. The new paint has been removed, and the picture restored to its original aspect. It was formerly in a church at Xocera de' Pagani, in the Neapolitan States, and was purchased by the Viceroy of Naples ; later it adorned «. Madonnas and Holy Families. 45 the gallery of the Duke of Alba at Madrid. After various changes it was bought by the Emperor of Russia, and is in the Hermitage at St. Petersburg. A circular picture painted on wood. 9^ inches in diameter. THE MADONNA OF THE ALDOBRANDINI FAMILY. There is a stately grace in this composition that distinguishes it from those of the earlier periods. The Virgin is represented seated in front of the pilaster of an arcade, with the Infant Jesus on her lap, and bending slightly forward towards the little St. John, with her left arm around him. The Holy Child is leaning against his mother's breast, and offering a pink to St. John, who playfully reaches up for it with one hand, holding a cross in the other. It is a scene full of gentle dig- nity and tender feeling. The picture was formerly in the Aklobrandini Collection in Rome, and was purchased by Lord Garvagh of London. In 1865 it became the property of the National Gallery. Painted on wood. Height \\\ inches, width nf inches. THE MADONNA Dl LORETO. The original of this picture is lost, but various copies of it are met with. It represents the Virgin standing beside the couch of the Infant, who is just awakening, and lifting his arms to her, holding the veil which covered him. Joseph stands behind, leaning on his staff. The picture was formerly in the Church of S. Maria del Popolo in Rome, but was carried to Florence, and later is sup- posed to have been removed to the church at Loreto, hence its name. There is a copy in the Louvre, and one in the Museum of Naples. Figures half-length, the size of life. 4.6 Raphael. THE MADONNA OF THE DIADEM. ALSO KNOWN AS THE "SILENCE OF THE HOLY VIRGIN;' THE "SLUMBER OF JESUS," "LA VIERGE AU LINGE." "LA VIERGE AU VOILE." The Virgin is seated upon the ground, and with her right hand lifts the veil, which covers the Child, who is asleep upon a couch, to show him to St. John, who is kneeling in joyful adoration by her side, and around whom she holds her left arm. Upon her head is a blue diadem. There is a beautiful landscape back- ground, in which are represented the ruins in the Sachetti vineyard in Rome. It is now in the Louvre. Painted on wood. Height 26^ inches, width 195- inches. THE MADONNA Dl FOLIGNO. This work is one which combines great beauty with an exalted sentiment, and ranks among Raphael's grandest representations of the glorified Madonna and Child. It was an altar-piece painted for Sigismondi Conti of Foligno, private secre- tary of Pope Julius II., and was doubtless designed for a votive offering. In the upper part of the picture is the Virgin, seated upon clouds in a golden glory, surrounded by a circle of half-length angels in attitudes of devotion. She is embracing the Child, who is lightly sustained by her arm and some drapery around his body. At one side kneels Sigismondi . Conti, a figure of wonderful reality and earnestness. Behind him stands St. Jerome, who with great solemnity appears to be recommending him to the Virgin. St. John the Baptist stands on the opposite side, and St. Francis kneels beside him. Between the two groups stands an angel-boy holding a tablet, and looking towards the Madonna. His upturned face is of the most exquisite beauty. In the distance is' a town, towards which a burning ball is falling: above it is a rainbow, and beyond, the hills and clouds form a background. According to tradition, the burning ball is a bomb, and bears reference to the deliverance of Sigismondi at the siege of his native Madonnas and Holy Families. 47 town, which the picture was intended to commemorate. The rainbow is a token of peace and reconciliation. The conception of this picture is very noble. The composition is stately without being stiff; while the treatment of light and shade, and the coloring, are most effective. The beauty of the celestial personages con- trasted with the aspect of those grouped below, their solemn yet serene repose, enhanced by the rugged and careworn features of the devotees, add greatly to the charm and impressiveness of the picture. It was painted for the high altar of the Church of S. Maria in Araceli, on the Capitoline Hill at Rome (in the choir of which the donor is buried), and remained there from 15 12 to 1565; at that time Anna Conti, niece of Sigismondi, had it transferred to the Church of Ste. Anna at Foligno, where it remained until 1792, when it was carried away by the French. It was in an injured condition when it reached Paris, and was transferred to canvas by M. Haquin, and restored by Herr Roser of Heidelberg. After the treaty of 1S15 it was returned to Rome, and is now in the Vatican Gallery. Painted on wood, afterwards transferred to canvas. Height 113^ inches, width 74! inches. THE MADONNA OF THE BRIDGEWATER GALLERY. The Virgin is seated in full front-view, with the Child lying in a graceful attitude across her lap, and supported by her right arm. She is looking tenderly at him, while he grasps her veil, and looks up in her face. The face of the Madonna is very attractive in its pure beauty, and the picture is expressive of that tender and intimate communion which Raphael sometimes portrayed in his representations of these two figures by themselves. The modelling of the figures is very excellent ; and the execution is perfect, except in the blue mantle of the Virgin, which is supposed to be the work of a pupil. The picture is painted with such lightness that the lines of the drawing can be seen through. In a number of sketches preserved in different collections the composition of this beautiful work 48 Raphael. is to be traced, and there are many copies of the work. The original was for- merly in the collection of the Duke of Orleans. It was purchased by the Earl of Ellesmere, and is in the Bridgewater Gallery in London. Painted on wood, afterwards transferred to canvas. Height 34 inches, width 23-^ inches. THE MADONNA WITH JESUS STANDING. In this simple representation the Virgin is seated behind a balustrade, or low wall, on which the Child is standing, looking smilingly out of the picture. The mother appears to be in happy meditation. The Infant's arms are around her neck as she holds him close, one foot resting in her hand. The face of the Madonna is youthful, and noble in expression. This picture, now much injured, is in the collection of Lady Burdett-Coutts, in London. Painted on wood, afterwards transferred to canvas. Height 32 inches, width 255 inches. THE MADONNA DEL DIVINO AMORE. This picture is also called the Holy Family of Naples. The Virgin and Ste. Elisabeth, with the two children, are seated near a ruin. The Holy Infant is bless- ing St. John, who is kneeling in adoration. In the background, Joseph is seen under the arcade of a building. The execution of this picture has been attributed to Giulio Romano, though it is believed that the principal parts are by the master's hand. It is in the Naples Museum. Painted on wood. Height 23 inches, width 19 inches. THE MADONNA DELL' IMPANNATA. This picture takes its name from the window in the background, curtained with paper or cloth. It represents the Virgin taking the Child from the arms of Madonnas and Holy Families. 49 Ste. Elisabeth. On the right is St. John upon a panther's skin, holding a cross in his right hand, and pointing with his left towards the Infant Christ. The genu- ineness of this picture has been disputed ; but the composition is so fine, and the exe -ution in parts is so excellent, that it seems probable that the master designed it, ,. rid at least executed portions of it. It is in the Pitti Gallery in Florence. Painted on wood. Figures nearly life-size. THE MADONNA DEL PESCE (OF THE FISH). In sublimity of character this picture takes rank with the Madonna di San Sisto and the Madonna di Foligno. It combines the expression of simple and earnest faith which distinguishes the early manner of Raphael, with the grand and powerful style of his mature time. It represents the Virgin seated on a throne, with the Child on her lap. On one side kneels St. Jerome, holding a large book in his hands : on the other side is the young Tobit, accompanied by the angel Raphael. The Madonna and St. Jerome are looking down upon Tobit, who is kneeling before the Infant Saviour, and looking upward, holding the fish in his right hand. The face of the Virgin is of a grave and majestic sweetness ; and the Child, who is exhibiting the most interested sympathy, is of most radiant beauty. The angel is a very tender and graceful figure ; and the bearing of the suppliant is of unaffected simplicity. A curtain is drawn back at the left, and a small extent of blue sky is seen on the right. The coloring is clear and harmonious. The Mi donna del Pesce was formerly in the Church of S. Domenico Maggi- ore at Naples. Diseases of the eye were common in that city ; and a chapel had been consecrated, where prayers for the recovery of those afflicted were especially offered ; and the picture was painted for this chapel, representing Tobit led by the angel to implore of the Virgin a cure for his father's blindness. It is also supposed to refer to the Book of Tobit, translated by Jerome, which was not acknowledged as canonical in the early centuries of the Church. The Holy Child graciously 5 o Raphael. receives the young Tobit, and, as he bends forward, lays his hand upon the pro- phetic book, thus indicating the sacredness of St. Jerome's version. About 1644 the picture was taken to Spain, and became the property of Philip IV., and was placed in the Escurial. In iS 13 it was carried away by the French. It was in a much injured condition when it reached Paris, and Bonnemaison was engaged to transfer it to canvas. It was not finished at the conclusion of the treaty of 1S15, and was not restored to Spain until 1822. It suffered somewhat in the process, but it is regarded as the gem of the Italian Gallery of the Museum at Madrid. Painted on wood, afterwards transferred to canvas. Height 77J inches, width 63J inches. THE MADONNA DELLA SEDIA (OF THE CHAIR). ALSO CALLED THE -MADONNA DELLA SEGCIOLA " (SMALL CHAIR). This picture was painted when Raphael was at the height of his powers and in the midst of his great works in Rome. It is entirely by his own hand, and is one of his most poetical inspirations, though it is less striking for its religious significance than for its expression of intense human affection. The Virgin, seen in a side-view, is seated on a chair with the Child on her knees, closely embraced with both arms, the faces turned towards the spectator. Around the head of the Virgin is a striped drapery which falls gracefully at the back, and on her shoulders is a rich fringed scarf of many colors. On the right is the little St. John, looking up with adoring affection. The face of the Madonna is of classic beauty, and its charm is enhanced by its expression of tranquil happiness. The Child, too, is very beautiful, with soft repose in face and limb ; and St. John, pressing close to the Virgin's knee, completes the sweet and tranquil scene : only the little rustic cross hints at a deeper meaning. The coloring is warm and beautiful. Passavant, who examined it closely upon an easel, says that " the different tints were not blended together, but laid side by Madonnas and Holy Families. 5 1 side with such consummate knowledge of chiaroscuro, that at a little distance they appear to melt into each other without break or transition." There are numerous copies of this picture, both ancient and modern, and in every variety of style ; but it seems impossible to reproduce its naive beauty and indescribable charm. The two children are sometimes copied with success, but the sweet simplicity of expression upon the Virgin's face almost always degenerates into archness or coquettishness. The priceless original is in the Pitti Gallery in Florence. Painted on wood. A circular picture 30 inches in diameter. THE MADONNA DELLA TENDA (OF THE CURTAIN). This composition is similar to the Madonna della Sedia, except that the Vir- gin's face is seen in profile, and the Child is more animated. St. John at the right completes the group. A curtain forms the background, and this gives the picture its name. There are many copies of this work, the original of which is generally conceded to be that in the Pinakothek at Munich. Painted on wood. Height 31 inches, width 2\\ inches. THE MADONNA WITH THE CANDELABRA. A beautiful picture, representing the Virgin seated in nearly full-front view, holding the Child on her lap. Her face is very lovely in its calm and dignified seriousness. The Child is animated and lifelike, but of less beauty than is usual, and both figures have been injured by restoration. Two angels bearing torches at the sides are a subsequent addition, and not in the manner of Raphael. The picture was formerly in the Borghese Gallery in Rome, and is now in the Munro Collection in London. A circular picture, 25^ inches in diameter. 5 2 Raphael. THE HOLY FAMILY CALLED THE "PEARL" This is a noble and harmonious composition. The figures form a pleasing group, and each is invested with a peculiar charm. The Virgin is seated, with the Infant Jesus upon her lap : she holds him with her right hand, while her left is placed upon the shoulder of Ste. Anna, who is kneeling by her side. St. John is bringing fruits in his panther's skin, and offering them to his Divine Companion, who is raising his face, smiling, and stretching out his hands to receive them. The Virgin looks down lovingly upon the children, and Ste. Anna has an expression of devout contemplation. Mary is a figure of great beauty, dignity, and grace, and her drapery is of simple elegance. The Infant Christ is of a wonderful perfection of face and form. St. John is beautiful, but less so than the Divine Child. In the background is a landscape, with figures on the right, and on the left a ruin, where St. Joseph is seen. In the opinion of Passavant, this Holy Family was painted by Giulio Romano, with finishing touches by Raphael in different parts. M. Emeric- David, who studied the picture carefully in Paris, does not apparently attribute any part of it to the pupil. He declares there is " nothing more finished, nothing more pure, among the works of Raphael. ... A masterpiece of taste, this picture con- tains all kinds of perfection adapted to the subject ; and the severest criticism can hardly detect in it a fault. The composition, the design, the color, present every- where a merit little short of perfection." M. Viardot also appears to attribute it entirely to the master's own hand. The picture was painted for the young patron of Raphael, who afterwards became Duke of Mantua, and was purchased of the duke by Charles I. of England among other pictures. After the death of King Charles, in 1649, it was bought by the Spanish ambassador for Philip IV., and sent to Madrid. When Philip saw it for the first time, he was so enchanted by its beauty that he exclaimed, "This is my pearl ! " by which title it is still designated in the Museum of Madrid. Painted on wood. 52 This is a group, and ez Infant Jesus placed upor bringin g fr who is rai Virgin lc devout drape face bac' St c my pearl ! Painted on wood. Madonnas and Holy Families. 53 THE LARGE HOLY FAMILY OF THE LOUVRE. This is the largest painting of the subject produced by Raphael, and it is a work of peculiar excellence. The character portrayed in the different personages composing the group, the fervent religious tone pervading the whole, and the ele- vated beauty and grace of the figures, place it in the highest rank among Raphael's oil-paintings. It represents the Virgin bending forward, and holding out her arms to the Child, who is springing joyfully from the cradle towards her. On the left kneels Ste. Elisabeth folding the hands of St. John, who is before her, as though teaching him to adore the Infant Saviour. St. Joseph is in the background, in the attitude of contemplation. On the left behind the group are two angels, one with her hands crossed upon her breast, the other scattering flowers. The picture was formerly closed by two wings ; but these have disappeared. This Holy Family was painted by order of Lorenzo de' Medici, and presented to Francis I. It bears the date of 15 18. In the Gallery of the Louvre it is designated as La grande Sainte Famille de Francois I er . Painted on wood, afterwards transferred to canvas. Height 82 inches, width 54-3- inches. THE SMALL HOLY FAMILY OF THE LOUVRE. DESIGNATED IN THE GALLERY SIMPLY 'SAINTE FAMILLE. " The Infant Christ is standing up in his cradle, leaning across his mother's knees, and caressing the little St. John. Ste. Elisabeth is kneeling at Mary's side, and presenting her son. The execution of this picture has been attributed to the pupils of Raphael. It was the property of Adrian Gouffier, papal legate in France in 15 19. A small wooden shutter which protected it from injury is pre- served in the Louvre : upon it is painted in grisaille, by Francesco Penni, a figure of Plenty, after a sketch by Raphael. Painted on wood. Height 15 inches, width 11^ inches. 54 Raphael. THE HOLY FAMILY UNDER THE OAK-TREE. The Virgin is seated under an oak, with the Child on her lap. His face is turned towards her ; but he is leaning forward to put his arm around St. John, who is holding a scroll inscribed " Eccc Agnus Dei!" Each child rests one foot upon the cradle. St. Joseph is leaning upon a fragment of antique architecture in the background. It is supposed to have been executed in part by one of Raphael's pupils. Passavant says, " As a whole, this composition is stiff; and the general style leads us to suppose it to have been painted by Fran- cesco Penni, after a drawing by Raphael." Upon the cradle is inscribed Raphael Pinx. It is now in the Madrid Museum. There is a copy in the Pitti Gallery in Florence, attributed to Giulio Romano, in which there is a lizard introduced: hence the picture has been called La Madonna della Lucertola, though there is no lizard in the one at Madrid. THE REPOSE IN EGYPT, OR IL RIPOSO. This picture is supposed to have been painted by one of Raphael's best pupils, after his design. In this, and in several of the succeeding pictures described, it is impossible to say which parts, if any, are the work oi the master's own hand. It is impossible, too, to classify them chronologically. It would seem to be appropriate, however, to include them in the list of Raphael's Madonnas and Holy Families, as they were undoubtedly produced under his direct influence, or by his pupils and followers, in direct imitation of the finer charac- teristics of his style. In the Riposo the Virgin is represented kneeling, and hold- ing the Child in her arms. St. John is kneeling, and offering fruits to his Divine Companion. St. Joseph, leading an ass by the bridle, is bending forward to caress St. John, or to raise him up. The landscape background is lighted by the setting sun. It is in the Belvedere Gallery at Vienna. Painted on wood. Height 62 inches, width 46 inches. Madonnas and Holy Families. 55 THE MADONNA DEL PASSEGGIO (PROMENADE). The original of this picture is lost. Among the many copies of it, the one in the Bridgewater Gallery in London is considered the best, and is attributed to Francesco Penni. It represents the Madonna and Child standing in a rich land- scape, the Child leaning against his mother, while St. John approaches to embrace him. St. Joseph is seen at a little distance. Figures full length, half the size of life. THE MADONNA OF THE RUINS. A picture bearing this name, attributed to Raphael, is mentioned by Passavant. It represents the Madonna and Child with St. John among ruins, the Virgin holding the Infant Christ upon a fragment of cornice, and St. John offering a rustic cross ; St. Joseph in the background bearing a torch. It was formerly in the Escurial, but it is now in the collection at Kingston Hall, Devonshire, England. Painted on wood. Height 43^ inches, width 30 inches. ECCE AGNUS DEI. A picture in the Munro Collection in London, supposed to be executed by Giulio Romano, representing the Madonna holding the Child, with St. John at the side, offering a piece of parchment, which is inscribed, " Eccc Agnus Dei!" Other similar compositions are in different collections. THE VIRGIN WITH THE ROSE. This composition is similar to the last, with St. Joseph standing behind the group, in the attitude of contemplation. A few years since it was cleaned, and 5 6 Raphael. a rose was added in the lower part of the picture. It is in the Madrid Museum, where it is designated as the Sacra Familia de la Rosa. o Painted on wood, afterwards transferred to canvas. Height 44 inches, width 36 inches (Spanish measure) . THE VIRGIN IN THE MEADOW. The group is in a setting somewhat in the style of the Madonna in the Meadow, in the collection at Vienna. The Virgin is seated, holding the Child ; her body turning towards the left, her head towards the right, looking at St. John, who is kneeling with his rustic cross, and offering a scroll to Jesus. The original is lost. The best copy is in the collection at St. Petersburg. THE VIRGIN GIVING FLOWERS TO THE INFANT JESUS. This picture represents the Virgin holding the Child on her lap, and offer- ing him flowers : in one hand he holds a book. The design is supposed to be Raphael's. There are many copies of this picture to be met with in different collections : one of excellence is in the Tribune of the Uffizi in Florence. THE MADONNA Dl SAN SISTO. Raphael's grandest legacy to his own and succeeding times was the Madonna di San Sisto. This picture was painted about 15 18, for the Benedictines of St. Sixtus at Piacenza. They had asked for a picture in which should be introduced the Virgin and Child, St. Sixtus, and Ste. Barbara. It was the last Madonna which Raphael painted, — the crowning work of his genius in this department of religious art. On either side are represented two green curtains drawn back, which enclose the group. The Virgin stands with her feet lightly touching the clouds, holding the Child in her arms. A glory of angel-heads surrounds them. Madonnas and Holy Families. 57 Pope Sixtus is kneeling on the left in supplication, and pointing with his right hand to his earthly flock. He is richly clothed in white tunic and gold-colored pallium turned back with purple, and near him on the parapet is his tiara. On the right kneels Ste. Barbara, looking downward, her hands folded upon her breast. Beyond her, at the right, a portion of a tower is to be seen, probably in refer- ence to the legend of her life. Two small angels of surpassing grace and beauty lean upon the parapet below. The principal objects in the picture, as in all Raphael's compositions, are strikingly prominent ; while the impression of the whole is of complete harmony and repose. The more than mortal beauty of the glori- fied Mother and Child, the picturesque arrangement of the drapery, the easy and graceful poise upon the clouds, the throng of angel faces fading into air, — all combine to render it one of the most enchanting and poetic creations of religious art. It is the work of Raphael's latest and best time, and is entirely by his own hand. No sketch or study of any part of it has ever been found, which seems to prove that it was sketched in a moment of inspiration. Passavant says of it, "The Madonna di San Sisto is indeed an apparition, clothed in the forms of nature, but animated, and to some extent rendered divine, by the genius of the most ideal artist that God has ever created. This Madonna is certainly the work which contributed most to procure Raphael the surname of ' the divine.' Even in its technical part it does not resemble any of the other works of Raphael. Although its execution is of extreme simplicity, it has none of that art which is only formed for delighting the eye. All in it is seen by the light of enthu- siasm ; and but for the little angels at the bottom, painted as an afterthought on the clouds, we should scarcely see a trace of human hands in the picture." Some are of the opinion, that since the painting was on canvas, instead of on panel, it was intended for a procession picture. This does not seem likely, as # it is in every way more appropriate for an altar-piece than for a banner, and there appears to be no reason for believing that it was not intended to adorn the principal altar in S. Sisto, as Yasari distinctly states. Dr. Hlibner of Dresden says, "The circumstance that the picture, contrary indeed to the custom of the 5 8 Raphael. time and to Raphael's own habit, was painted on canvas, cannot alone justify such an assumption, — one quite inconsistent with the high position of the great artist, and with the almost idolatrous veneration with which he was regarded by his patron the Pope, by Rome, by Italy, and by his entire age. With all the value that was at that time attached to every thing connected with the ceremonies of the church, there is no instance, so far as I know, of the employment of so celebrated a master for such a work ; and, if such had really occurred, the painters of the six- teenth century were possessed of common sense enough to prevent their employing such carefully executed paintings as the one in question for a purpose that would in a short time inevitably have caused their destruction. The age of Leo also was the farthest removed from any such over-pious luxury, and would have been the least of all inclined to appropriate such a work to such a purpose. Independent of the fact that canvas was at that time already coming into general use, and could have been new to Raphael only as regards its use in oil-painting, since it had been employed from the earliest times for tempera pictures, and, besides the charm of novelty, had undoubted advantages for a picture intended for transport, the very considerable size of the painting is strongly against the supposition that it was intended for processional uses." The picture was seen by Yasari in the church of the San Sisto Monastery, at Piacenza, about the middle of the sixteenth century. In 1711-12 Augustus III. of Saxony, then Crown Prince, while journeying in Italy, saw it, and with enthu- siastic admiration determined to become the possessor of it if possible. It was more than forty years later when he succeeded in obtaining it, through the agency of the artist Giovannini, who purchased it for twenty thousand ducats, stipulating for a copy of the size of the original to take its place. In 1754 it was removed from the altar where it had remained for over two hundred years, and taken to Dresden, where it was received with great pomp. The Elector ordered it immediately unpacked, and placed for exhibition in the large recep- tion-room of the palace ; and, as the place occupied by the throne was the most favorable and best-lighted place for the picture, he ordered the removal of the Madonnas and Holy Families. 59 throne, assisting with his own hand, exclaiming, " Make room for the great Raphael ! " It has since been carefully cleaned and restored. The upper part of the curtain and a part of the glory of angels had been turned back : this was unfolded, and the picture restored to its original size and effect. It is the chief ornament of the Dresden Gallery ; and, since the completion of the New Museum, it has been placed in a cabinet by itself, upon a sort of altar, where it is seen to great advantage. The Madonna di San Sisto has been engraved by several of the great masters of engraving. Those of Miiller and Steinla are especially fine. The latest, and one of great excellence, is by Joseph von Keller of Dusseldorf, who also engraved Raphael's Disputa. He was engaged for twelve years upon his engrav- ing of the Madonna ; and it proved to be the crowning work of his life, as he died soon after its completion. But no engraving or copy can reproduce the lofty, spiritualized beauty of the original. We stand before it entranced by its mysterious power and beauty, and the echo of our impressions seems to haunt us ever after. Painted on canvas. Height 104J inches, width 77^ inches. s^p. sr^ RAPHAEL AS A SCULPTOR. JHE resources of Raphael's genius were not exhausted by painting and architecture. A few works in sculpture were executed by him, probably about 15 13. The second chapel of S. Maria del Popolo in Rome was constructed by Raphael for Agostino Chigi, and in part ornamented with pictures and sculpture, though neither artist nor patron lived to see it completed. According to Raphael's design, the cupola of the chapel was to be adorned with mosaics representing the history of Adam from the creation to the fall of man : the coming of the Messiah to be represented by four prophets in marble ; namely, Jonah, Habakkuk, Daniel, and Elijah. In this portion of the work he was assisted by the Florentine sculptor Lorenzetto. The statue of Jonah is generally believed to be the work of Raphael's .own hand. Some, however, are of the opinion that the design and the model were his own, but that the exe- cution was the work of Lorenzetto. The Elijah is by Lorenzetto, and is quite inferior to the Jonah, though the design of this is also attributed to Raphael. The figure of Jonah is of great beauty of form, and of fine finish. The two remaining statues were executed at a later period, by Bernini. A group representing a wounded boy borne through the waves by a dolphin was modelled by Raphael, and executed in marble by Lorenzetto. Nothing is known with certainty of the fate of the original. In a letter of Count Castiglione, written 60 V Raphael as a Sculptor. 61 May 8, 1523, to his intendant at Rome, he alludes to this work: "I wish to know if Giulio Romano has still the 'Young Boy' in marble, by the hand of Raphael, and the lowest price at which he would allow me to have it." Cavaceppi, author of " Raccolta d'antichc statue" had at one time in his possession a group of this subject, which later became the property of the Earl of Bristol, Bishop of Deny, and is now at Down Hill in Ireland. Casts or copies of the work are to be seen in different collections in Europe. A beautiful female bust, modelled in wax, sometimes called a Madonna, now in the Wicar Collection at Lille, has been attributed to Raphael ; but its authenticity is questioned. In the latter part of his life, Raphael made a design for a medal, with the effigy of Lorenzo de' Medici, during the residence of that prince in Rome. S ggk* .A, f r , ^^.. t ^^. ..^■TVj fc. .,.v^' ^-.,^^ % ^i^ -
  • rt -»i^i. RAPHAEL AS A POET. EVERAL sonnets are found written upon Raphael's sketches and studies for the frescos in the Vatican, preserved in different collec- tions. They are of no great poetic merit ; yet there is a warmth of sentiment and a certain musical charm to be found in them, and they are interesting mementos of this richly gifted nature. The original of the following sonnet is preserved in the British Museum. A copy of it, with slight variation, is in the Albertine Collection in Vienna. " Un pensier dolce e rimembrare e godo Di quello asalto, ma piu gravo el danno Del partir, ch' io restai como quei c' anno In mar perso la Stella, s' el ver odo. O lingua di parlar disogli el nodo A dir di questo inusitato inganno Ch'amor mi fece per mio grave afanno Ma lui piu ne ringratio, e lei ne lodo. L' ora sesta era, che 1' ocaso un sole Aveva fatto, e 1' altro surce in locho Ati piu da far fati, che parole. Ma io restai pur vinto al mio gran focho Che mi tormenta, che dove 1' on sole Diserar di parlar, piu riman fiocho." 62 §@j*jjn-^- -.k— ; '-b—i\ --^k-^^-tJ^— ^k— ^L- ^ 'I- 'is-^^.a^SA^iyf'f^- -■> ■ L- = ! £ SELECTIONS FROM RAPHAEL'S CORRESPONDENCE. To my dear Uncle Simone di Battista de' Ciarla da Urdino, dear to me as a Father : — HAVE received the letter in which you announce the death of the duke. May God receive his soul with mercy ! Truly I was unable to read your letter without tears. But it is all over : nothing can be changed. This is why we must submit to the will of God. I have lately written to my uncle the priest, that he send me the small pic- ture serving as a wing to the "Madonna" of our prefect [Giovanna clella Rovere]. But he has not done so. I pray you, then, to remind him again, and that he send it me on the first opportunity, in order that I may content that lady ; lor you know that I ma)- presently have need of her. I pray you, also, very dear uncle, to tell the priest and Santa, that if the Florentine Taddeo, of whom we have fre- quently spoken, come to Urbino, they show him every possible honor, without sparing any thing. You also, for love of me, render him every service he may require ; for truly I am under the greatest obligations to him. I have not fixed any price for my picture, and shall not do so, even when I am able ; for it would be better for me that an estimation should be made of it. This is why I have not written the price, and shall not write it. I have no other news to give you, unless it be that he who ordered the picture from me has also 63 64 Raphael. promised me works to the value of three hundred ducats, as well for here as for France. After the feasts, I will perhaps write you to what price the picture mounts, for which I have ahead)' made the cartoon ; and after Easter we shall have completed it. I should much like to obtain from the signora prefect a letter of recommen- dation to the gonfalonier of Florence. A few days since, I begged my uncle and Giacomo of Rome to procure it for me ; for it might be very useful to me in procuring some work in a room which depends on his Highness. I beg you, then, to send me this letter if possible ; and I believe, that, if it is asked for in my name, he will certainly have it written. Recommend me to him as his old servant and friend. Recommend me also to the master, and to Ridolfo, and to all the others. Your RAFAEL, Painter at Florence. This XXI April, MDVIII. LETTER TO THE PAINTER, FRANCESCO FRANCIA OF BOLOGNA. Dear Messer Francesco, — I have just received your portrait, brought to me by Bazzotto, in excellent condition, and without any damage whatever. I thank you most heartily for it. It is most beautitul, and so full of life, that I sometimes deceive myself, and think you yourself are with me, and that I hear you speak. I entreat your indulgent excuse that I have so long delayed sending you my own, which, from continuous and most important occupations, I have not as yet been able to finish with my own hands, as I promised you I would do. I might, in- deed, have sent you one done by a pupil, and retouched by myself, but this would have been most wrong ; though, let who may paint it, the result will not equal the merit of your work. Excuse me, therefore, you who know from frequent experi- ence what it is to live deprived of one's liberty, and at the command of patrons, who, when they need you not, lay you aside. Meantime, I send you by Bazzotto, Selections from Raphael's Correspondence. 65 who tells me he will return in a week, another drawing of the " Presepio," very different, as you will see, from the one completed, and which you were pleased to commend so highly, as indeed you do with respect to all my works, covering me with blushes. I am ashamed of the trifle I send you, but you will value it more as a token of love and respect than for any other reason. If, in return, you give me a drawing of your Judith, I shall place it among my dearest and most precious treasures. Monsignor the Datary is anxiously expecting his little "Madonna;" and Cardinal Riario his large one, as you will hear from Bazzotto. I also shall view them with that satisfaction and enjoyment which all your previous productions have given me, — productions which no artist has surpassed in beauty and in the expression of devotional feeling. Farewell ! Be of good courage ; pursue the wise course you have hitherto adhered to, and be assured that I feel your sorrow as my own. 1 Continue to love me as I love you. Ever by serving you, RAPHAELLO. Rome, Sept. 5, 150s. LETTER WRITTEN BY RAPHAEL AT ROME TO HIS UNCLE, ANNOUNCING HIS INTENDED MARRIAGE WITH MARIA DA BIBIENA. To my Uncle, dear to me as a Father, Simone di Battista de' Ciarla da Urbino, at Urbino : — I have received your dear letter, and am happy to see by it that you are not angry with me ; though, indeed, you would be wrong, if you consider how difficult it is to write without a serious motive. To-day, as there is something of impor- tance to say, I reply to you at once. In the first place, as to taking a wife, I will say in regard to her whom you destined for me that I am very glad, and thank God, for not having taken either her or another ; and in this I have been wiser than you who wished to give her 1 This was probably in reference to the exile from Bologna of Francia's patron, Giovanni Bentivoglio. 66 Raphael. to me. I am convinced that you see yourself that I should not have got on as I have done. I have already property at Rome to the amount of three thousand ducats of gold, and an income of fifty ducats. Then his Holiness, our Lord, has proposed to me some works in the Church of St. Peter, with a salary of three hundred ducats of gold, which will not fail me as long as I live. This is not all. Besides this, they will pay me for my work whatever may seem right to me. The paintings, also, in another hall that I have undertaken, will produce twelve hundred ducats of gold. Thus, then, dear uncle, I am doing honor to you as well as to my other relations and to my native town. I bear you continually in my heart, and when I hear you mentioned it seems as if I heard my father named. Do not complain of me, then, if I do not write oftener ; since it should be rather I to complain of you, who have a pen in your hand all day, and yet allow six months to pass between one letter and another. Notwithstanding all, however, I am not angry with you, as you are unjustly with me. I had left off speaking of my marriage, but return to it to tell you that the Cardinal of Santa Maria in Portico wishes to give me one of his relations, and that with the consent of my uncle the priest, and your consent, I have placed myself at the disposition of his lordship. I cannot withdraw my word. We are nearer than ever to the conclusion, and I will inform you immediately of every thing. Do not be vexed if this affair end well ; but, if it should not, I will do what you wish. And know, that, if Francesco Buffa finds good matches, I can do so too; for I might have a beautiful young lady at Rome, — and, by what I hear, both herself and her relations of good reputation, — with a dowry of three thousand scudi of gold ; and be sure that one hundred crowns at Rome are worth more than two hundred at Urbino. As to my sojourn in Rome, I cannot, from love for the works of St. Peter's, remain long elsewhere ; for I have at present the place of Bramante. And what city in the world is worthier than Rome ? and what enterprise greater than St. Peter's, the first temple in the world ? It is the greatest building ever seen, and will cost more than a million of gold. The Pope has granted sixty thousand ducats Selections from Raphael's Correspondence. 67 a year for the works, and he thinks of nothing else. He has given me as a colleague a very learned frate, of at least eighty years of age, and who has not long to live. His Holiness gave me this man of great reputation and great learning for a colleague, that I might profit by him, and, if he has a noble secret in architecture, that I might learn it also, and thus attain perfection in the art. He is named Fra Giocondo [da Verona]. The Pope sends for us every day, and speaks to us for some time about the works. I pray you to go to the duke and duchess, and tell them all this ; for I know that it gives them pleasure to hear that one of their subjects is doing them honor ; and commend me to their Highnesses, as I also commend myself to you. Salute all my friends and relations in my name, and especially Ridolfo, who bears such great and kind affection to me. Your RAFAEL, Painter at Rome. T«is July ist, 1514. THE APPOINTMENT OF RAPHAEL AS ARCHITECT OF ST. PETER'S, BY POPE LEO X., IN 1514. To Raphael of Urbino. Besides the art of painting, in which you are universally known to excel, you were, by the architect Bramante, equally esteemed for your knowledge in that pro- fession ; so that, when dying, he justly considered that to you might be confided the construction of that temple which by him was begun in Rome to the prince of the apostles ; and you have learnedly confirmed that opinion by the plan for that temple requested of you. We, who have no greater desire than that the temple should be built with the greatest possible magnificence and despatch, do appoint you superintendent of that work, with the salary of three hundred golden crowns per annum out of the money laid aside for the said construction. And we order that you be paid punctually every month, or, on your demand, the pro- 6S Raphael. portion due. We exhort you to undertake the charge of this work in such a manner, that in executing it you have due regard to your own reputation and good name, for which things the foundation must be laid in youth. Let your efforts correspond to our hope in you, to our paternal benevolence towards you, and, lastly, to the dignity and fame of that temple, — even the greatest in the whole world, and most holy, — and to our devotion for the prince of the apostles ! Rome, August ist, the second year of our Pontificate. Raphael often received suggestions and assistance in his work from the learned and amiable Count Baldassare Castitrlione, with whom he had formed an intimate friendship at the court of Urbino. The following letter is in reply to a commu- nication from Count Castiglione to Raphael while he was occupied with the frescos of the Chigi Palace in Rome : — ■ Signor Count. I have made, in different styles, several drawings from the suggestions of your lordship. Every one is pleased with them, if every one does not flatter me. But in my own judgment I could not be satisfied, for I fear not to satisfy you. I send you these drawings that your lordship may choose, if one be found worthy of you. Our Lord [the Pope], by giving me an honor, has imposed a great burden on my shoulders. This is the care of the works for St. Peter's. I hope not to fail in it, the more so as my model pleases his Holiness and many other distinguished persons. But my thoughts rise higher. I want to find the beautiful forms of ancient buildings. I do not know whether it will be a flight of Icarus. Vitruvius gives me some light, yet not sufficient. As for the " Galatea," I should think myself a great master if it possessed one-half the merits of which you write ; but I read in your words the love you bear to myself. To paint a figure truly beautiful, I should see many beautiful forms, with the further provision that you should yourself be present to choose 68 n Selections from Raphael's Correspondence. 69 the most beautiful. But, good judges and beautiful women being rare, I avail myself of certain ideas which come into my mind. If this idea has any excellence in art, I know not, although I labor heartily to acquire it. I commend myself to your lordship, From Rome, RAFAEL. After his appointment as architect of St. Peter's, Raphael devoted himself to the work with great zeal. He employed the learned Marco Fabio Calvo of Ravenna to translate the architectural writings of Vitruvius into Italian, to be used in his studies ; and the work was done in the artist's own house in Rome. This valuable manuscript translation is now in the library at Munich. Upon it are various marginal notes by the hand of Raphael. Calcagnini, the first secretary of Pope Leo X., wrote the following particulars of the relations between the artist and the aged scholar to Jakob Ziegler, the celebrated theologian and mathe- matician, near the close of Raphael's life: — " Fabius of Ravenna is an old man of stoical probity, and of whom it would be difficult to say whether his learning or affability is the greater. . . . This most holy man has this peculiar and very uncommon quality of despising money so much as to refuse it when offered to him, unless forced to accept it by the most urgent necessity. However, he receives from the Pope an annual pension, which he divides amongst his friends and relations. . . . He is cared for as a child by the very rich Raphael da Urbino, who is so much esteemed by the Pope. He is a young man of the greatest kindness and of an admirable mind. He is distinguished by the highest qualities. Thus he is, perhaps, the first of all the painters, as well in theory as in practice. Moreover, he is an architect of such rare talent, that he invents and executes things which men of the greatest genius deemed impossible. I make an exception only in Vitruvius, whose principles he does not teach, but whom he defends or attacks with the surest proofs, and with so much grace, that not even the slightest envy mingles in his criticism. At jo Raphael. present he is occupied with a wonderful work, which will be scarcely credited by posterity (I do not allude to the basilica of the Vatican, where he directs the works) : it is the town of Rome, which he is restoring in almost its ancient grandeur ; for by removing the highest accumulations of earth, digging down to the lowest foundations, and restoring every thing according to the descriptions of ancient authors, he has so carried the Pope Leo and the Romans along with him, as to induce every one to look on him as a god sent from heaven to restore to the ancient city her ancient majesty. With all this he is so far from being proud, that he comes as a friend to every one, and does not shun the words and remarks of any one. He likes to hear his views discussed, in order to obtain instruction and to instruct others, which he regards as the object of life. He respects and honors Fabius as a master and a father, speaking to him of every thing, and following his counsels." . . . EXTRACT FROM A LETTER WRITTEN BY A NOBLE VENETIAN IN ROME, MARCANTONIO MICHIEL DE SER VETTOR, TO ANTONIO Dl MARSILIO AT VENICE, APRIL II, 1520. " Ox Good-Friday night . . . died the noble and excellent painter, Raphael da Urbino. His death caused universal sorrow, especially amongst learned men, for whom more especially, although also for painters and architects, he had drawn in a book, as Ptolemy drew the configuration of the world, the ancient build- ings of Rome, with their proportions, forms, and ornaments, and so faithfully, that he who has seen these drawings might almost assert that he had seen ancient Rome. . . . But death interrupted this noble and glorious enterprise. ... In truth, an incomparable master no longer exists. . . . He has been interred in the Rotunda, where he was borne with great honors. His soul has doubtless gone to contemplate the edifices in heaven, which are not subject to destruction. His name and memory will long live in his works and in the remembrance of all honest men." Selections from Raphael 's Correspondence. 7 1 Count Castiglione, in a letter addressed to his mother, wrote, — & " I am in good health ; but it seems as if I were not in Rome, since my poor Raphael is here no longer. May his blessed soul be with God ! " The following epitaph was written for the tomb of Raphael by Cardinal Bembo : — D. 0. M. RAPHAELI . SANCTIO . I0ANN . F . URBINATI PICTORI . EMINENTISS . VETERVMQ . AEMVLO CVIVS . SPIRANTES . PROPE . IMAGINES . SI CONTEMPLERE NATURAE . ATQVE . ARTIS . FOEDVS FACILE . INSPEXERIS IVLII II . ET LEONIS . X . PONT . MAXX . PICTVRAE ET . ARCHITECT . OPERIBVS . GLORIAM . AVXIT VIX . ANNOS . XXXVIII . INTEGER . INTEGROS QUO . DIE . NATVS . EST . EO . ESSE . DESIIT VIII . ID . APRILIS . MDXX. ILLE HIC EST RAPHAEL TIMVIT QVO SOSPITE VINCI RERVM MAGNA PARENS ET MORIENTE MORI. ^~Ti ifp~~S!p ^~ ^ ^ e^Tj^ - ^"^l 6*3 6j(3 ~^~ 6j§ S#3 6^~^^Jj> (t£> ^ CHRONOLOGICAL CATALOGUE OF RAPHAEL'S MADONNAS AND HOLY FAMILIES. ;. gy\ ^S^ jl H E Madonna of the Solly Col- lection . The Madonna of Countess Alfani .... The Madonna with SS. Jerome and Francis The Madonna of Count Staffa (Conestabile), The Madonna of the Diotalevi Family. The Madonna del Gran Duca . The Madonna of the Dukes of Terranuova The Madonna of Lord Cowper (small) . The Madonna of St. Anthony . The Madonna of the Ansidei Family The Madonna del Cardellino (Goldfinch) The Madonna in the Meadow (Al Verde) The Holy Family under the Palm-Tree The Holy Family with the Beardless St Joseph ...... The Madonna della Tempi Museum, Berlin. Collection of Countess Beatrice Fabrizi, Term'. Museum, Berlin. Hermitage, St. Petersburg. Museum, Berlin. Pitti Gallery, Florence. Museum, Berlin. Collection of Lord Cowper, Pansliangcr. National Gallery, Loudon. Collection of Duke of Marlborough, Blenheim. Tribune of the Uffizi, Florence. Belvedere, I lenna. Bridgcwatcr Gallery, London. Hermitage, St. Petersburg. Pinakothek, Man ich. 73 74 Raphael. The Madonna of the Orleans Gallery . The Holy Family of the Canigiani Family, The Holy Family with Jesus seated on a Lamb The Madonna with the Pink .... The Madonna with the Pink (copy) The Madonna della Casa Niccolini (Large Cowper) ....... The Madonna with the Sleeping Child The Madonna di Casa Colonna La Belle Jardiniere ...... The Madonna del Baldacchino (di Pescia) The Madonna of the Esterhazy Gallery The Madonna of the Alba Family The Madonna of the Aldobrandini Family . The Madonna di Loreto . The Madonna di Loreto (copy) The Madonna di Loreto (copy) The Madonna of the Diadem . The Madonna di Foligno . The Madonna of the Bridgewater Gallery . The Madonna with Jesus standing . The Madonna del Divino Amore (Holy Family of Naples) ....... The Madonna dell' Impannata The Madonna del Pesce (of the Fish) The Madonna della Sedia (of the Chair) The Madonna della Tenda (of the Curtain), The Madonna with the Candelabra The Holy Family called the Pearl The Large Holy Family of the Louvre (called La Grande Saintc Famille de Fran- qois I er ) ....... Collection of Due d' Aumalc, Cliantilly. Pinakotlick, Municli. Museum, Madrid. Lost. Collection of Count Spada, Lucca. Collection of Lord Cowper, Panshanger. Lost. Museum, Berlin. Louvre, Paris. Pitti Gallery, Florence. Academy, Pestli. Hermitage, St. Petersburg. National Gallery, Loudon. Lost. Louvre, Paris. Museum, Naples. Louvre, Paris. Vatican, Rome. Bridgewater Gallery, Loudon. Collection of Lady Burdett-Coutts, London. Museum, Naples. Pitti Gallery, Florence. Museum, Madrid. Pitti Gallery, Florence. Pinakotlick, Munich. Munro Collection, Loudon. Museum, Madrid. Louvre, Paris. Chronological Catalogue. 75 The Small Holy Family of the Louvre (called Sainte Famille) The Holy Family under the Oak-Tree . The Repose in Egypt (II Riposo) The Madonna del Passeggio (Promenade) The Madonna del Passeggio (copy) . The Madonna of the Ruins Ecce Agnus Dei ...... The Virgin with the Rose The Virgin in the Meadow The Virgin in the Meadow (copy) . The Virgin giving Flowers to the Infant Jesus (copy) ...... The Madonna di San Sisto . Louvre, Paris. Museum, Madrid. Belvedere, Vienna. Lost. Bridgcivater Gallery, London. Kingston Hall, Devonshire, England. Munro Collection, London. Museum, Madrid. Lost. Hermitage, St. Petersburg. Tribune of the C'ffizi, Florence. Gallery, Dresden. JgCg^-^. 'imsy CLASSIFIED CATALOGUE OF RAPHAEL'S OTHER WORKS. jj|HE Infant Christ and St. John, The Resurrection of Christ, The Archangels Michael and Raphael Two Church Standards Coronation of St. Nicholas of Tolentino Crucifixion Coronation of the Virgin .... Coronation of the Virgin (Design by Raphael) The Vision of a Knight .... The Marriage of the Virgin .... St. Sebastian ....... Christ on the Mount of Olives St. Michael St. George . The Three Graces Ste. Catherine of Alexandria The Entombment ...... 76 S. Pietro de Casincnsi, Perugia. Vatican, Rome. National Gallery, London. SS. Trinitd, Citta di Castcllo. Lost. Collection of Lord Ward, London. I atieau, Pome. Vatican } Rome. National Gallery, London. Br era, Milan. Collection of Count Lecchi, Bergamo. Collection of Mr. Maitland, Stanstead, Lug. Louvre, Paris. Hermitage, St. Petersburg. National Gallery, London. National Gallery, London. Boighcsc Gallery, Rome. Classified Catalogue. 77 Ste. Cecilia The Vision of Ezekiel . Christ Bearing his Cross (Lo Spasimo) The Visitation The Archangel Michael . Ste. Margaret Ste. Margaret ..... St. John the Baptist The Transfiguration .... Gallery, Bologna. Pitti Gallery, Florence. Museum, Madrid. Museum, Madrid. Louvre, Paris. Louvre, Paris. Belvedere, Vicuna. Tribune of the Uffizi, Florence. Vatican, Rome. PORTRAITS. Bust Portrait of a Young Man Portrait of a Young Man of the Riccio Family, Portraits of Angelo Doni and his Wife, Maddalena Strozzi .... Portrait of a Woman ..... Portrait of Guidobaldo, Duke of Urbino . Portrait of Raphael ...... Portraits of Two Monks .... Portrait of a Young Man ...... Portrait of Pope Julius II Portrait of the Marchese of Mantua . Portrait of a Youth ..... Portrait of a Woman (La Fornarina) Portrait of a Woman ..... Portrait of Bixdo Altoviti .... Portrait of Ph.edra Inghirami Portrait of Giuliano de' Medici Portrait of Giuliano de' Medici (copy) Portrait of Cardinal Bibiena .... Portrait of Baldassare Castiglione . South Kensington Museum, London. Pinakothek, Munich. Pitti Gallery, Florence. Tribune of the Uffizi, Florence. Lost. Uffizi Gallery, Florence. Academy, Florence. Pitti Gallery, Florence. Tribune of the Uffizi, Florence. Collection of Mr. L ucy, Charlecote Park, Fug. Louvre, Paris. Barberiui Gallery, Rome. Tribune of the Uffizi, Florence. Pinakothek, Munich. Pitti Gallery, Florence. Lost. Tribune of the Uffizi, Florence. Museum, Madrid. Louvre, Paris. 78 Raphael. Portrait of Antonio Tebaldeo . . . Lost. Portraits of Andrea Navagero axd Agostixo Beazzaxo Lost. Portraits of Axdrea Navagero axd Agostixo Beazzaxo (copy) Dona Gallery, Rome. Portrait of Joaxxa of Aragox . . . Louvre, Paris. Portrait of Leo X. with Cardixals Giulio de' Medici axd Ludovico de' Rossi . Pitti Gallery, Florence. Portrait of Lorexzo de' Medici . . . Lost. Portrait of a Violixist Collection of Lord Russell, London. Portrait of " Raphael's Mistress " . . . Pitti Gallery, Florence. Portrait of Jacopo Saxazzaro . . , Hermitage, St. Petersburg. Portrait of Federico Caroxdolet . . . Collection of Duke of Grafton, London. Portrait of Moxsigxore Lorexzo Pucci . Collection of Lord Aberdeen. FRESCOS. The Holy Trixity, with Saixts . . .5. Severe, Perugia. Child's Head (painted in Fresco on a Brick) Pinakotlick, Munich. FRESCOS IN THE STANZA DELLA SEGNATURA. Theology. The Parnassus. The School of Athexs. Figures of Prudexce, Fortitude, axd Moderation. The Emperor Justinian giyixg the Paxdects. Pope Gregory IX. giving the Decretals. Figure of Theology. Figure of Poetry. Figure of Philosophy. Figure of Jurisprudexce. Classified Catalogue. 79 Original Sin. Apollo and Marsvas. Astronomy. The Judgment of Solomon. Alexander the Great placing the Poems of Homer in the Tomb of Achilles. The Emperor Augustus forbidding the Burning of Virgil's tEneid. Paintings in the Embrasures of the Windows. Socle Paintings. THE STANZA D' ELIODORO. The Almighty appearing to Noah. The Sacrifice of Abraham. Jacob's Dream. Moses before the Burning Bush. Heliodorus driven from the Temple. The Miracle of Bolsena. The Discomfiture of the Hordes of Attila. The Deliverance of St. Peter. Allegorical Figures and Socle Paintings. Paintings in the Embrasures of the Windows. THE STANZA OF THE INCENDIO DEL BORGO. The Oath of Leo III. The Coronation of Charlemagne. The Conflagration in the Borgo Vecchio. The Victory over the Saracens. Socle Paintings. Paintings in the Embrasures of the Windows. THE SALA Dl CONSTANTINO. Constantine addressing his Troops. The Battle of Constantine. The Baptism of Constantine. 8o Raphael. Constantine's- Donation of Rome to the Pope. The Eight Popes and Allegorical Figures. Socle Paintings. THE LOGGIE PAINTINGS (CALLED RAPHAEL'S BIBLE). First Arcade. — Separation of the Light from the Darkness. Creation of Dry Land. Creation of the Sun and Moon. Creation of Animals. Second Arcade. — Creation of Eve. Fall of Man. Expulsion from Eden. Consequence of the Fall. Third Arcade. — Building of the Ark. The Deluge. Leaving the Ark. Sacrifice of Noah. Fourth Arcade. — Abraham and Melchisedec. The Covenant of God with Abraham. Abraham and the Three Angels. Lot and his Family fleeing from Sodom. Fifth Arcade. — God appearing to Isaac. Isaac embracing Rebecca. Isaac blessing Jacob. Esau claiming the Blessing. Sixth Arcade. — Jacob's Ladder. Jacob at the Fountain. Jacob asking for Rachel Jacob's Return to Canaan. Seventh Arcade. — Joseph relating his Dream. The Selling of Joseph. Joseph and Potiphar's Wife. Joseph before Pharaoh. Classified Catalogue. 81 Eighth Arcade. — The Finding of Moses. The Burning Bush. Crossing the Red Sea. Moses striking the Rock. Ninth Arcade. — Moses receiving the Tables of the Law. The Worship of the Golden Calf. Moses kneeling before the Pillar of Cloud. Moses giving the Law to the People. Tenth Arcade. — Crossing the Jordan. The Fall of Jericho. Joshua's Victory over the Amorites. Division of the Promised Land by Lot. Eleventh Arcade. — David anointed King of Israel. David and Goliath. David's Victory over the Syrians. David sees Bathsheba for the First Time. Twelfth Arcade. — The Consecration of Solomon. The Judgment of Solomon. Visit of the Queen of Sheba to Solomon. Building of the Temple. Thirteenth Arcade. — Adoration of the Shepherds. Adoration of the Magi. The Baptism of Christ. The Last Supper. Socle Paintings. Vatican, Rome. Figure of the Prophet Isaiah Prophets and Sibyls Galatea History of Cupid and Psyche Frescos of the Chateau La Magliana . The Marriage of Alexander and Roxana, Mythological Paintings .... 5. Agostino, Rome. S. Alaria dclla Pace, Rome. Farnesina Palace, Rome. Farncsina Palace, Rome. Louvre, Paris. Borghcsc Palace, Rome. Bathroom of Cardinal Bibiena, Vatican, Rome. 82 Raphael. THE TAPESTRIES. First Series. — The Miraculous Draught of Fishes. Christ's Charge to St. Peter. The Martyrdom of St. Stephen. Healing of the Lame Man. Death of Ananias. Conversion of St. Paul. Elymas struck with Blindness. Paul and Barnabas at Lystra. St. Paul preaching at Athens. St. Paul in Prison. SECOND SERIES. — For which Raphael made only the sketches. Massacre of the Innocents. Adoration of the Shepherds. Adoration of the Magi. Presentation in the Temple. Resurrection of Christ. Noli me Tangere. Descent into Hades. Christ and the Disciples at Emmaus. The Ascension. An Allegorical Composition relating to the Papacy. Hall of the Tapestries, I 'atiean, Rome. TAPESTRY FOR THE ALTAR OF THE SISTINE CHAPEL. The Coronation of the Virgin ..... Lost. Classified Catalogue. §3 THE SEVEN CARTOONS FOR TAPESTRIES NOW REMAINING. The Miraculous Draught of Fishes. Christ's Charge to St. Petep. Healing of the Lame Man. Death of Ananias. Elvmas struck with Blindness. Paul and Barnabas at Lystra. St. Paul preaching at Athens. Sou tli Kensington Museum, London. , jjji, — ii>a" '»i»s'* -ew*" SS^gga INDEX. The Holy Family with the Beardless St. Joseph, 36. of the Canigiani Family, 37. Saintf. Famille, 53. La Grande Sainte Famille de Francois I", 53. Il Riposo, 54. The Holy Family with Jesus seated ox a Lamb, 3S. of the Louvre (large). 53. (small), 53. under the Oak-Tree, 34. Palm-Tree, 35. called the Pearl, 52. Repose in Egypt, 54. Madonna of the Alba Family, 44. Aldobrandini Family, 45. Countess Alfani, 29. Al Verde, 35. of the Ansidei Family, 33. St. Anthony, 33. del baldacchino, 42. of the bridgewater gallery, 47. with the Candelabra, 51. del cardellino, 34. The Madonna di Casa Colonna, 40. of the Chair, 50. Conestabile, 30. Lord Cowper (large), 39. (small), 32. the Curtain, 51. Diadem, 46. Diotalevi Family, 30. del Divino Amore, 4S. Ecce Agnus Dei, 53. of the Esterhazy Gallery, 43. Fish, 49. di Foligno, 46. del Gran Duca, 31. dell' Impannata, 4S. La Belle Jardiniere, 41. with SS. Jerome and Francis. 29. di Loreto, 45. in the Meadow, 35. della Casa Niccolini, 39. of the Orleans Gallery, 37. del Passeggio, 55. DEL PeSC'E, 49. 85 86 Index. The Madonna di Pescia, 42. with the Pink, 39. of the Ruins, 53. di San Sisto, 56. della Sedia, 50. Seggiola, 50. with the Sleeping Child, 40. called the slumber of jesus, 46. of the Solly Collection, 28. Count Staffa, 30. The Madonna with Jesus standing, 4S. della Tempi, 36. Tenda, 51. of the Dukes of Terranuova, 32. The Virgin giving Flowers to the Infant Jesus, 56. La Vierge au Linge, 46. The Virgin in the Meadow, 56. with the Rose, 55. Silence of the Holy Virgin, 46. La Vierge au Voile, 46. , TIIH 13dVH0 IV 3N JO AllSaaAINO