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V. 
 
 STERS IN ART 
 
 CI)e iFreecos of 
 
 i^apfiael 
 
 UMBRIAN, ROMAN, FLORENTINE SCHOOLS 
 

 
 

 
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UASTESS IN AHT PLATE IX 
 
 PHOTOQRAPH BY ALINARI 
 
 [145] 
 
 KAPHAEIj 
 
 GAHLAND-BEAHEH 
 
 ACADEMY OF ST. LUKE, SOME 
 
MASTEHS IN AHT PLATE X 
 
 rHOTOQRAPH BY BRAUN, CLEMENT CIE. 
 
 [147] 
 
 EAPHAEIj 
 THE TEIUMPH OF GAXATEA 
 FAHNESIXA VIZiIiA, HOME 
 
PORTHAIT OF RAPHAEI. BT HIMBEU 
 STAXZA IJELLA SEGXATUHA, VATICAN, HOME 
 
 Raphael painted his own portrait, as one of the spectators, in * The School of Athens,' 
 ( see Plate V. ) standing in the corner to the right beside the figure of the painter 
 Sodoma, whom he has here represented out of courtesy as an associate in the deco- 
 ration of the Stanza della Segnatura. Painted when he was twenty-seven years old, 
 this portrait and one in the Uffizi Gallery, Florence, to which it bears a strong re- 
 semblance, are the only undoubtedly authentic likenesses of Raphael. In both he 
 wears a black cap, his features are delicate, his complexion is olive, and his chestnut 
 hair is worn long. 
 
 [148] 
 
MASTERS IN ART 
 
 Mnp'bMl l&an^to 
 
 BORN 1483 : DIED 1520 
 UMBRIAN, ROMAN, FLORENTINE SCHOOLS 
 
 THE present monograph treats only of Raphael's frescos. His easel- 
 pictures were considered in Masters in Art, Volume 1, Part 12, in 
 which another account of his life and further criticisms of his art will be 
 found. 
 
 RAPHAEL SANZIO, or Santi, was born on Good Friday of the year 
 k. 1483, in the ducal city of Urbino, situated among the Apennine moun- 
 tains close to the frontiers of Tuscany and Umbria. His father, Giovanni 
 Santi, a painter of considerable reputation and also a man of some literary 
 attainments, was ever a welcome guest at the palace of the Duke of Urbino, 
 whose miniature court was at that time one of the chief artistic and intellec- 
 tual centers of Italy; and the rich treasures contained in the ducal residence, 
 with which Raphael was familiar from his earliest youth, may well have stim- 
 ulated the boy's love for art. 
 
 Few facts are recorded of Raphael's childhood. When he was eight years 
 old his mother died; and on the death of his father three years later he was 
 left to the guardianship of a stepmotiier and an uncle, Bartolommeo Santi. 
 From his father he had already learned the elements of drawing and paint- 
 ing, and it is probable that later he was placed in the studio of the Umbrian 
 painter Timoteo Viti, then hving in Urbino, and that when sixteen or seven- 
 ^ teen years of age he was sent to Perugia to study under Pietro Perugino, the 
 acknowledged head of the Umbrian school. Perugino seems to have devoted 
 special pains to the artistic education of his talented scholar; and it was not 
 long before Raphael, having been allowed to assist his master in his work, 
 was engaged in painting pictures on his own account for various neighboring 
 churches. In all his work done during this apprenticeship, however, Perugi- 
 no's influence is so strongly apparent, and his style so closely imitated, that it 
 is at first sight difficult to distinguish the paintings of the pupil from those of 
 the master. There is no direct proof for Vasari's statement that Raphael 
 visited Siena at about this time, and assisted Pinturicchio in his fresco decora- 
 tions of the cathedral library of that city, though such may have been the 
 fact; but we hear of him in Urbino in 1504, and know that towards the close 
 
 [149] 
 
24 MASTERSINART 
 
 of that year he went to Florence, reports having reached him of the enthusi- 
 asm caused by the exhibition there of Leonardo da Vinci's and Michelangelo's 
 great cartoons for the decoration of the hall of the Palazzo Vecchio. 
 
 The Duchess Giovanna, sister of the Duke of Urbino, who had heard of 
 Raphael's wish to visit Florence, gave him a letter warmly recommending 
 him to the Gonfaloniere of the city, Piero Soderini. "The bearer of this," 
 she wrote, "will be Raphael, painter of Urbino, who, being endowed with 
 natural talent for his profession, has decided to spend some time in Florence 
 in order to study art. And since his father was a very excellent man and dear 
 to me, and the son is a discreet and gentle youth, I am very fond of him, and 
 wish him to attain to perfection." 
 
 Notwithstanding his youth he was at that time only twenty-one 
 Raphael was welcomed as an equal by the artists of Florence, among whom 
 he made many friends; and the beauty of his person and charm of his man- 
 ner insured him an immediate popularity. We hear of him as a frequent 
 visitor at the workshop of Baccio d'Agnolo, the architect, where all the well- 
 known painters and sculptors of the city were wont to gather to discuss the 
 various problems of their art; and we know that he spent many hours in the 
 Brancacci Chapel of the Church of the Carmine studying the works of Masac- 
 cio, which awakened that sense of the dramatic afterwards perceptible in his 
 own great frescos. With the genius for assimilation for seizing upon the 
 best there was in the achievement of others and making it his own that 
 characterized him from the beginning, Raphael was quick to develop his 
 rapidly maturing powers under the various influences to which he was now 
 subjected. Above all did the subtlety of modeling and beauty of expression 
 in Leonardo da Vinci's work attract him. "He stood dumb," says Vasari, 
 "before the grace of Leonardo's figures, and thought him superior to all other 
 masters; and, leaving the manner of Perugino, he endeavored with infinite 
 pains to imitate the art of Da Vinci. At the same time Michelangelo's mas- 
 tery of the human frame made a profound impression upon his mind, and he 
 applied himself with ardor to learn the principles of anatomy. Night and day 
 he devoted himself to the task, and studied the structure of the body with 
 such unwearied industry that in a few months he learned what others take 
 years to acquire." 
 
 At the end of a few months Raphael's stay in Florence was interrupted 
 by a visit to Perugia, where, in 1505, we find him executing several impor- 
 tant commissions and engaged upon his first fresco a representation of the 
 Trinity painted for the monks of the Monastery of San Severo. This work, 
 now httle more than a wreck, was left unfinished by Raphael, and was com- 
 pleted after his death by his old master, Perugino. 
 
 In the spring of 1506 he seems to have spent some months in his native 
 town, where he painted several pictures for the Duke of Urbino; but in Sep- 
 tember of that year he returned to Florence, where many of his finest easel- 
 pictures, principally those of which the Madonna and Child form the sub- 
 ject, were then painted. It was while occupied with numerous important 
 works in Florence that Raphael, in the autumn of 1508, upon the recom- 
 
 [150] 
 
RAPHAEL 25 
 
 mendation, so Vasari says, of his fellow-citizen the architect Bramante, re- 
 ceived from Pope Julius ii. a summons to Rome, where already many of the 
 most famous artists of Tuscany, Umbria, and Northern Italy were engaged 
 in the service of that pontiff. Michelangelo was about to begin his task of 
 decorating the ceiling of the Sistine Chapel, the walls of which had already 
 been painted by Signorelli, Perugino, Botticelli, Pinturicchio, and others. 
 Bramante was occupied with the erection of St. Peter's; and now the young 
 Raphael, at that time twenty-five years of age, was called upon to con- 
 tribute his share in the decoration of the Palace of the Vatican. Leaving his 
 work at Florence to be finished by other hands, Raphael hastened to obey 
 the pope's summons; and upon his arrival in Rome was received with great 
 kindness by Julius, and at once began the work assigned to him. 
 
 This was the decoration in fresco of the Stanza della Segnatura, the room 
 where official documents received the papal seal. Upon the vault, already 
 adorned by Sodoma with an elaborate decorative scheme, the greater part of 
 which was cleared away before Raphael began his work, he painted in the rect- 
 angles 'Adam and Eve,' 'Astronomy,' 'Judgment of Solomon,' and 'Apollo 
 and Marsyas,' and above, four allegorical figures, 'Theology,' 'Poetry,' 'Phi- 
 losophy,' and 'Justice.' Upon the right wall he painted the first of his mon- 
 umental frescos, the celebrated 'Disputa;' opposite this, 'The School of 
 Athens;' and on the two remaining walls, broken by large windows, are rep- 
 resented respectively 'Parnassus' and 'Jurisprudence,' with figures of Justin- 
 ian and Pope Gregory ix. on either side of the window underneath the last. 
 Taken as a whole, the frescos of this stanza of the Vatican are generally 
 regarded as the greatest of Raphael's achievements. "Never again," writes 
 Mr. Henry Strachey, "did he attain to so faultless a unity of theme. Many 
 were the causes which prevented him from rising again to such perfection. 
 The great obstacle was success. When Julius handed over the first room to 
 Raphael he was an unknown young man of promise; when he finished it, 
 some two and a half years later, he was acknowledged to have but one rival 
 in Italy Michelangelo. While the painter was unknown the pope did not 
 trouble about the subjects of the pictures nor how quickly they were done; 
 but when Julius found what manner of man he had to paint his wallsfor him 
 he was impatient to have more, and that quickly. Unfortunately, instead of 
 allowing Raphael to weave an ideal framework for the decoration of the next 
 room to be painted, he was forced, for political reasons, into painting the 
 triumphs of the Church. When we pass from the Stanza della Segnatura to 
 the Stanza d' Eliodoro we pass from the highest form of ideal art to an art in- 
 spired by illustration that is, painting of which the motive is not an ab- 
 stract one, like poetry or philosophy, but which, instead, occupies itself with 
 making clear a story or incident." 
 
 Raphael's reputation in Rome was now completely established. Loaded 
 with honors by the pope, whose satisfaction with the w.ork of his now favor- 
 ite painter was unbounded, he was ordered to paint the walls of the adjoin- 
 ing apartment, now called the Stanza d' Eliodoro, without delay. The sub- 
 ject given him was the divine protection of the Church, and in the fresco or 
 
 [151] 
 
26 MASTERSINART 
 
 *The Expulsion of Heliodorus from the Temple of Jerusalem,' which he 
 now painted, allusion is made to the liberation of Italy from the invading 
 army of France; and 'The Miracle of Bolsena,' which followed, is significant 
 of the supreme power of the Church. 
 
 Raphael's work in the Vatican was interrupted at this point by the death 
 of Pope Julius; but Giovanni de' Medici, who under the name of Leo x. 
 succeeded to the papal chair, proved no less stanch a patron, and from the 
 first distinguished him with marks of special favor. He bade him proceed 
 with the decorations of the Vatican apartments; and Raphael accordingly 
 painted *The Retreat of Attila,' introducing the figure of the new pontiff as 
 St. Leo arresting the barbarians in their invasion, and on the remaining wall 
 of the Stanza d' Eliodoro depicted *The Deliverance of St. Peter,' in allusion 
 to the escape of Leo x. from captivity after the battle of Ravenna. 
 
 With the exception of 'The Miracle of Bolsena,' Raphael employed in 
 the execution of these frescos a band of assistants, who worked, it is true, 
 from his designs and under his direction, thus making possible the vast amount 
 of work which was accomplished during his short life, but whose touch too 
 often marred the creations of their master. In the Stanza dell' Incendio, 
 decorated between 1514 and 1517, only one fresco, 'Incendio del' Borgo,' 
 was to any extent painted by Raphael. His drawings exist for the single figures 
 contained in the other frescos of this room 'The Coronation of Charle- 
 magne,' ' The Oath of Leo in.,' and * The Battle of Ostia ' but most of the 
 painting was done by pupils; and the Sala di Costantino, the last of the so- 
 called stanze, was painted after Raphael's death. 
 
 While these great works in the Vatican were in progress Raphael was en- 
 gaged upon numerous other important undertakings. He decorated the sump- 
 tuous bathroom of Cardinal Bibbiena in the Vatican with a series of myth- 
 ological subjects, and painted several Madonna pictures, including the famous 
 * Madonna di Foligno,' and many portraits of the chief personages at the court 
 of Leo X. It had become, indeed, impossible for him to fill the orders that 
 poured in from all sides; and "kings and cardinals counted themselves fortu- 
 nate if they could obtain a picture even designed by this illustrious master." 
 
 In the year 1514, after the death of Bramante, the pope appointed Raphael 
 chief architect of St. Peter's, at an annual salary of three hundred ducats, and 
 in the following year named him inspector of antiquities, with power to pur- 
 chase any ancient marbles discovered in Rome or the vicinity that it might 
 seem to him advisable that the city should possess. It was at about this time, 
 too, in accordance with the wish of the pope, that Raphael executed his ten 
 celebrated "cartoons" illustrating the acts of the Apostles Peter and Paul 
 designs for tapestries intended to cover the lower half of the walls of the Sis- 
 tine Chapel in the Vatican. When completed these cartoons were sent to 
 Flanders, where the tapestries (still preserved in a room in the Vatican) were 
 woven. Three of the.original cartoons are lost; the remaining seven are now 
 in the South Kensington Museum, London. 
 
 In addition to his work in the papal service, Raphael was also engaged in 
 executing commissions for the wealthv banker Agostino Chigi, not only at 
 
 [152] 
 
RAPHAEL 27 
 
 Chigi's villa near Rome, now the Villa Farnesina, where the fresco of 
 *The Triumph of Galatea' still adorns the wall, but in the chapel of the 
 Chigi family in the Church of Santa Maria della Pace, where he painted his 
 famous Sibyls, and that of Santa Maria del Popolo, where he designed the 
 mosaics for the cupola of a chapel. 
 
 The last important decorative works of the painter's life were the frescos 
 painted in the Villa Farnesina, representing the story of Cupid and Psyche, 
 and a series of fifty-two small frescos, enframed in arabesques, of scenes 
 from the Old and New Testaments, known as ' Raphael's Bible,' which 
 adorn the loggie of the Vatican. Both these works, however, were executed 
 almost wholly by pupils. Indeed, the frescos of the Vatican loggie, now 
 ruined by restoration, show no trace of the master's hand. 
 
 The host of pupils who worked under Raphael's direction formed a sort 
 of royal retinue about him ; and, as Vasari tells us, " he was never seen to go to 
 court but surrounded and accompanied, as he left his house, by some fifty 
 painters, all men of ability and distinction, who thus attended him to give 
 evidence of the honor in which they held him. He did not indeed lead the 
 life of a painter, but that of a prince." And in this little court the most per- 
 fect harmony reigned, due to the personality of the painter, the charm and 
 sweetness of whose nature no man could withstand. "All became as of one 
 mind," says Vasari, "once they began to labor in the society of Raphael, 
 continuing in such unity and concord that all harsh feeling and evil disposi- 
 tions became subdued and disappeared at the sight of him; every vile and 
 base thought departing from the mind before his influence." His favorite 
 pupils, Giulio Romano and Gianfrancesco Penni, were members of his house- 
 hold; and among his friends and most frequent guests were cardinals, dis- 
 tinguished scholars, and all the celebrated men who formed the courts of 
 Julius II. and Leo x. 
 
 The story that Raphael fell in love with the daughter of a baker," la For- 
 narina," is now believed to be without foundation. Vasari tells us that there 
 was one woman whom the painter cared for all his life, and in two sonnets 
 written by Raphael he addresses his lady-love as one far above him, vowing 
 that he will never reveal her name. A marriage with Maria, niece of his 
 close friend Cardinal Bibbiena, seems to have been arranged for, but the 
 lady's early death prevented the marriage, for which Raphael apparently 
 showed no great desire. 
 
 It was towards the end of his life, probably in 1 5 1 8 or 1519, that Raphael 
 painted, entirely with his own hand, that most famous of all his easel-pictures, 
 'The Sistine Madonna,' executed for the monks of the Monastery of San 
 Sisto of Piacenza, and now in the Dresden Gallery. In the following year, 
 while engaged upon his celebrated painting of 'The Transfiguration,' and 
 before he had quite completed it, he was taken sick with a fever, contracted, 
 some say, while superintending excavations in the malarial quarters of Rome, 
 and, according to others, the result of a sudden chill occasioned by waiting 
 in one of the vast halls of the Vatican in attendance upon the pope. Worn 
 out by overwork, Raphael sank rapidly, and, after an illness of only a few 
 
 [153] 
 
28 MASTERSINART 
 
 days, died on the evening of Good Friday, his thirty-seventh birthday, April 
 6, 1520. 
 
 Great were the grief and consternation caused by the news of his death. 
 The whole city mourned, and the pope himself was overcome by sorrow at 
 the loss of his favorite painter. Raphael's body was placed beneath his un- 
 finished picture of 'The Transfiguration,' in the studio wherein he had last 
 worked. Thither all Rome came to look upon the face of the "divine painter," 
 who had been so much beloved; and all the artists of the city, followed by 
 a vast concourse of people, bore his body to the grave, which he had himself 
 selected, beneath the great dome of the Pantheon. 
 
 Cije art of 3aapi)ael 
 
 GEORGE B. ROSE 'RENAISSANCE MASTERS' 
 
 IT is to Raphael more than to any one else that the modern world owes 
 its conception of beauty that beauty in which the physical and spiritual 
 shall mingle in ever-varying proportions, but in which neither shall ever be 
 entirely lacking; the beauty of the 'Sistine Madonna,' whose great eyes are 
 full of the light of heaven as she is revealed upon her cloudy throne; the 
 beauty of the 'Madonna of the Chair,' the ideal of happy motherhood; the 
 beauty of the young athlete worthy to have entered the Olympic games, who 
 hangs from the wall in the 'Incendio del' Borgo'; the beauty of Apollo and 
 the Muses thrilled with the rapture of divine harmony upon the wooded sum- 
 mit of Parnassus, beauty in countless forms, never sensual nor gross, al- 
 ways truly physical and truly spiritual, always attractive, and always enno- 
 bling. . . . 
 
 Outside of the physical beauty and the spiritual elevation of his types, 
 Raphael's highest qualities as an artist those in which he remains unap- 
 proached and unapproachable are in illustration and composition. Nor 
 should it be inferred that his works lack decorative qualities. As a colorist 
 he is inferior to the great Venetians, but his color is always agreeable and 
 appropriate, and the harmony of his lines is decorative in the highest degree. 
 In the art of composition Raphael's preeminence has never been contested. 
 In the grouping of the figures so as to form an agreeable and impressive 
 whole he has no rival. It is not merely the balancing of group against group 
 on a flat surface, which had been done so often and so admirably before him ; 
 it is the composition in space, the composition in three dimensions, in which 
 he excels. We have all climbed to some eminence from which we have over- 
 looked a wide expanse of country, and remember the thrill which we have 
 experienced, the exaltation, the sense of enlarged vitality, the charm of the 
 infinite that has stirred our souls. Something of this there is in Raphael's 
 pictures. And his skill in grouping his figures is such that they remind us of 
 the rhythmic harmony of music ; not, like architecture, of music that is frozen, 
 
 [154] 
 
RAPHAEL 29 
 
 but of music that is throbbing and palpitating with life. Nor is it necessary 
 to go out of doors to experience the feeling of space. The same exhilarating 
 sense comes upon us as we stand beneath the arches of a vast cathedral, and 
 none of Raphael's pictures gives it more strongly than ' The School of Athens.' 
 To produce it is perhaps the highest achievement of architecture; to give the 
 illusion of it is one of the greatest feats of painting. And it is this faculty, 
 which Raphael possessed in so supreme a degree, of giving at the same time 
 a realizing sense of nature's boundless extent and of man's inherent superi- 
 ority, that imparts to his works a large portion of their unrivaled charm. . . . 
 
 When he arrived at the zenith of his fame Raphael was so overwhelmed 
 with commissions that he had recourse to the assistance of his pupils, often 
 furnishing only a sketch, and leaving to them the entire work of painting. 
 His inexhaustible fertility enabled him to dash off these designs with extreme 
 rapidity, and in the meantime he was himself working industriously with his 
 brush. . . . To realize the difference between Raphael and his pupils we 
 need only to go to the Villa Farnesina at Rome and look at his 'Galatea,' 
 that most beautiful of pictures inspired by the art of antiquity, so full of the 
 sea's splendor and of the exultant spirit of pagan joy, and then pass into the 
 adjoining inclosed loggia decorated by his pupils with the story of Cupid and 
 Psyche after his designs. Nothing could be more deliciously perfect than his 
 own painting, while the work of his disciples offends the eye by its coarse- 
 ness and haste. Still, through the imperfection of the workmanship there 
 shines forth the divine beauty of Raphael's conception ; and owing to the 
 brevity of his life, his works, without the assistance of his pupils, must have 
 been comparatively few, and we should have been deprived of many a mar- 
 vel of composition, whose merits may be impaired, but not destroyed, by the 
 inferiority of the workmanship. 
 
 Apart from the assistance received from his disciples, Raphael was the most 
 productive artist that ever lived. His early death limited his artistic activity 
 to a period of twenty years, and yet he has filled the galleries of the world 
 with the most varied masterpieces; and although his life was so short and so 
 busy that he could not have become a very profound scholar, yet the whole 
 spirit of Greek poetry is in his 'Galatea,' the whole spirit of Greek philos- 
 ophy is in his 'School of Athens'; and, while he became so thoroughly a Greek 
 that his work would have been hailed by Pericles with delight, he still re- 
 mained the highest and purest type of the Cnristian artist. 
 
 PRIOR to Raphael artists were too self-conscious because of their strug- 
 gling ignorance; their crudities made art too apparent. After Raphael 
 artists became self-conscious because of their knowledge; their power made 
 them proud of display. Hence the works of both schools, of the Preraphaelites 
 and the Postraphaelites, arrest by their singularities, though of course they 
 may also charm by their beauty. Raphael touched the happy medium between 
 these two extremes. He was not too ideal to be mystic, not too realistic to 
 be commonplace. He made the familiar beautiful, and the beautiful familiar. 
 
 WILLIAM TIREBUCK 
 
 [155] 
 
30 MASTERS IN ART 
 
 HENRY STRACHEY 'RAPHAEL* 
 
 AMONG Italian painters none were so preoccupied by questions of form 
 L as were the Florentines. Indeed, the expression of form, either by out- 
 line or modeling, may be said to be the distinguishing characteristic of their 
 school. To this passion for the realization of the shapes of things other con- 
 siderations were sacrificed. In Venice, on the other hand, it was the prob- 
 lems of colored light and the study of atmosphere which interested the artists. 
 
 The school to which Raphael may be considered to have chiefly belonged, 
 the Umbrian, was much more in sympathy with the Venetians than with the 
 Florentines. To him a figure primarily belonged to its surroundings. It might 
 be the principal part, but it always remained a part of the whole. The group 
 was always more important to him than the individual. Thus in his works 
 we never get that "extreme characteristic expression" of individual life that 
 we do in P'lorentine work. 
 
 In Michelangelo's bodies we feel their life in every form, straining in the 
 tense muscles and resting in those that are relaxed. In every part of his fig- 
 ures we are made to feel the living, moving organism. With Raphael the 
 impression produced is quite different. In studying his sense of form one 
 cannot but be struck by his keen feeling for the proportion and harmony of 
 the human body, by his wonderful feeling for the beauties resulting from well- 
 ordered movement. At the same time it is curious to note how indifferent 
 he seems to have been to those minute subtleties of form which were sought 
 after with such success by the great Florentines. When, for instance, he had 
 represented enough of the structure of the body to make his 'Apollo' a living 
 thing he stopped. His preoccupation was that his figure should fill a noble 
 and rhythmic space in the design of the whole work. To have insisted on 
 the inner life of the body would have distracted our attention from the serenity 
 with which the god harmoniously dominates his surroundings. . . . 
 
 But if excelled by the Florentines in appreciation of the inner mysteries 
 of form, and surpassed by the Venetians in the crowning glories of color, 
 there remains one domain of art in which Raphael reigns supreme. In com- 
 position no one before or after has ever approached to within a distance which 
 makes comparison possible. I do not mean to suggest that there are not 
 plenty of instances, ancient and modern, of supremely good composition. 
 But no other painter ever so habitually showed such complete mastery over 
 the art. It matters not to Raphael whether he is using one figure or twenty, 
 whether his space is rectangular, circular, or both, and lopsided also. In every 
 instance the given space is filled with a pattern of figures exactly suitable to 
 the decorative requirements and to the true expression of the sentiment of 
 the work. It made no difference to him, when planning *The Miracle of 
 Bolsena,' that the window in the wall to be painted was not in the center, 
 leaving but a narrow strip on one side. The irregularity of the space was 
 so turned to account that we feel that for the proper expression of the con- 
 ception a wall of this shape had to be found. Hitherto I have spoken only 
 of the pattern of the picture in two dimensions, height and breadth. With 
 the use of these two many artists have stopped. But Raphael proceeded far- 
 
 [156] 
 
RAPHAEL 31 
 
 ther, and used also depth in relation to composition. Mr. Berenson has aptly 
 called this of which I speak "space composition," and has pointed out that 
 this space composition was the peculiar heritage of the Umbrians, and that 
 Perugino was a master of the art in his own way, but that it was left for 
 Raphael to develop it to the full. 
 
 Vasari says that Raphael owed the architecture of the vast and airy hall in 
 which the congress of philosophers of his 'School of Athens' takes place to 
 Bramante; but if Bramante suggested the proportions and lines of the building 
 we may be quite sure that no one but Raphael disposed the light and shade, 
 for it is by this disposition that the spaces are controlled and harmonized. 
 Although no horizon is visible, the blue sky with white floating clouds car- 
 ries the eye away to infinite distance. But this distance is so finely expressed 
 that is, in its spiritual rather than its physical effect that there is no vio- 
 lation of the law of decoration which forbids too great realism in expressing 
 distance for fear of suggesting holes in the wall. How great must have been 
 the difiiculty of producing the exact tones required for this delicate business 
 of making one object stand just the right distance behind another! In an oil- 
 painting slight modifications are easy, but with a fresco of this size the diffi- 
 culties must have been great. Only by the possession of some high quality 
 of calculating the effect of each piece as the work proceeded can we account 
 for such an achievement. . . . 
 
 In his short life Raphael may be said to have swept away the middle ages 
 as far as art was concerned. The beginning of the great change was brought 
 about by Leonardo da Vinci, who finished the 'Last Supper' in 1497 the 
 first picture of the Renaissance which had obtained complete freedom. In 
 1499 Michelangelo carved the 'Pieta,' in St. Peter's, in which this same per- 
 fect freedom from archaic forms is manifested. At this last date Raphael was 
 working in his master's shop in Perugia, and it cannot be said that he achieved 
 the freedom already reached by the two elder artists till he went to Rome 
 and began painting the Stanza della Segnatura, in 1508. But if Raphael was 
 not a pioneer in freeing art from medieval trammels, he was the painter who 
 spread the light over the whole field of painting. Leonardo's strange and 
 mysterious temperament limited the scope of his performance to a weird and 
 beautiful land of dawn. Michelangelo's intense individuality and completely 
 personal way of looking at things also restricted his range. 
 
 In their own special provinces both Leonardo and Michelangelo pene- 
 trated farther into the heart of things than did Raphael. But the special sig- 
 nificance and wonder of the work of Raphael is the width of the field he 
 illuminated. Leonardo dwelt in dim regions, penetrable only to the most 
 poetical of imaginations; Michelangelo soared into the farthest regions of the 
 spirit, leaving behind all accidents of place and time; Raphael, on the con- 
 trary, walked in the world, and, like the sun, shone everywhere, all humanity 
 feeling his influence. If his spirit was not so penetrating as that of the other 
 two, his sympathies were wider. To him the earth was a place filled with 
 beautiful things, which had only to be brought together and touched by the 
 talisman of his art to fall into harmony with each other and with the rest of 
 humanity. [1571 
 
32 MASTERS IN ART 
 
 MIDWAY between Correggio and the strong individuality of Michel- 
 angelo stands Raphael, the most serene, restrained, and perfect of paint- 
 ers, who alone, by virtue of these qualities, is worthy to rank with the Greeks. 
 
 GIOVANNI MORELLI 
 
 E. H. AND E. W. BLASHFIELD 'ITALIAN CITIES' 
 
 IN the years which began the sixteenth century the art of Italy attained its 
 meridian in its capital city and in the house of its supreme rulers, through 
 the painting of the stanze of the Vatican and the Sistine Chapel. There has 
 never in the history of art been an environment more favorable and more try- 
 ing. On the one hand, enthusiasm had reached the very highest point, the 
 tree nurtured painfully, lovingly by the banks of the Arno was ready to bear 
 fruit; in the Vatican had just been enthroned a pope who willed tyrannously 
 that his ideal should be attained, the ideal of an environment unsurpassed in 
 beauty and inspiration by anything which the world had seen. 
 
 On the other hand, all the art of Florence, the art which was an inherit- 
 ance from Giotto and Donatello, Masaccio and Lippi, and which was actually 
 in the hands of Botticelli, Perugino, and Signorelli, was ready to pour, bub- 
 bling at the point of its highest enthusiasm, into the channel of papal service. 
 Great artists stood clustered about the throne: Giuliano da Sangallo, founder 
 of a dynasty of architects; Bramante, to whom had been allotted the planning 
 of the greatest church in Christendom; humanists and poets and cardinals 
 who were more famous as collectors than as temporal princes. Luca Signo- 
 relli and Pietro Perugino were still upon their scaffolding of the Sistine Chapel ; 
 the young Michelangelo was already preparing his drawings, and soon would 
 thunder and lighten from the vaulting. To conquer in such company was 
 to conquer utterly; Raphael Sanzio was summoned from Florence by Pope 
 Julius, and, within a short space of time, three peers, Bramante, Michelangelo, 
 and Raphael, as if so many counterparts of the triple ranges of their master's 
 tiara, crowned the art of the Renaissance in the Eternal City. 
 
 Raphael's conquest of his surroundings was almost magical: he arrived a 
 youth, well spoken of as to skill, yet by reputation hardly even par interpares; 
 in ten short years how long if we count them as art history he died, 
 having painted the Vatican, the Farnesina, world-famous altar-pieces; having 
 planned the restoration of the entire city; having reconciled enemies and 
 stimulated friends, and having succeeded without being hated. 
 
 He achieved this success by his great and manifold capacity, but, most 
 of all, because in art he was the greatest assimilator and composer who ever 
 lived. The two words are each other's complements; he received impres- 
 sions, and he put them together; his temperament was exactly suited to this 
 marvelous forcing-house of Rome, for a Roman school never really existed, 
 it was simply the Tusco-Umbrian school, throned upon seven hills and grow- 
 ing grander and freer in the contemplation of antiquity. To this contempla- 
 tion Raphael brought not only a brilliant endowment, but an astonishing 
 mental accumulation ; the mild eyes of the Uffizi portrait were piercing when 
 they looked upon nature or upon art, and behind them was an alembic in 
 
 [158] 
 
RAPHAEL 33 
 
 which the things that entered through those eyes fused, precipitated, or crys- 
 tallized as he willed. . . . 
 
 The study of the works of Raphael is necessarily the study of the evolu- 
 tion of the pictorial art of Central Italy. For two hundred years great paint- 
 ers had been working at problems of suggestion, expression, and technical 
 achievement. Giotto had taught art to be real and dramatic, grand and simple 
 at once; the naturalists had learned to paint man; their greater contempo- 
 raries to express him in his essential attributes; Masaccio had made man's 
 body a solid realization in an ambient environment; BotticeUi had used that 
 body as a sort of pattern for lovely decorative composition of lines; Ghir- 
 landajo had found in it a pretext for dignified portraiture; Signorelli had made 
 it material for the expression of movement by muscular construction; and 
 Perugino had pierced its envelop for the pietistic ecstasy beneath. Each of 
 these men, with more or less width of purpose and scope of realization, had 
 cultivated his own vantage-point till the art fields of Italy were indeed those 
 of the bliithe Zeit. 
 
 Then came Raphael, the grand harvester, and bound up the sheaves of the 
 Renaissance. But he did not collect and bind only; he sifted, he rejected, 
 and he added, added mightily. The age had wreaked itself upon experiment 
 experiment in expression, anatomy, perspective, composition, and decora- 
 tive detail. Raphael judged all this experiment, and taking the various re- 
 sults, examined and almost instinctively selected from each what was best 
 suited to the needs of pictorial presentation, what was best worth saving, per- 
 petuating, and sublimating. Having done all this, he synthetized his material, 
 and in presenting it, added so much of his own that the result of his alem- 
 bication more than justified his eclecticism. 
 
 For three hundred years after Raphael's death he was famous less by his 
 mural paintings than by his transportable pictures, which carried his name to 
 tens of thousands who lived beyond the Alps, and by the engraved reproduc- 
 tions of his tapestry cartoons which told Bible stories to Europe, Protestant 
 and Catholic alike. Most of all, he held his public by his treatment of the 
 subject which through its universal humanity was the touchstone of every 
 artist's power to appeal to the heart, the Mother and Child. Not the Queen 
 of Heaven of the fourteenth century; not even the Mary of the fifteenth 
 century, human and sympathetic, but made more or less official by the throne 
 and the paraphernalia of ceremonial worship; not these, but just a mother 
 with a baby was enough for the early sixteenth-century artists, and among 
 them all none was simpler in his treatment of costume, none rejected acces- 
 sory more readily than Raphael. . . . 
 
 This subject of the Holy Family has been with a certain public, and that 
 a large one, the most popular in the entire range of Raphael's works, and 
 the admiration given it at times has been, if not too lavish, certainly too in- 
 discriminate. Later criticism, in attempting to put an end to this undiscern- 
 ing praise, has gone too far on the other side; for if three centuries called 
 Raphael "divine," many a student of the Romantic epoch, and especially of 
 our own days, when surface-handling is so highly esteemed, has dismissed his 
 
 [159] 
 
34 MASTERS IN ART 
 
 work contemptuously, zs pompier y painty, and wooden. Some of it is all of 
 these three things, but none of it is worthy of contempt, for the least of his 
 works shows, in some degree, either his compositional force or his superiority 
 over his contemporaries in certain directions. . . . 
 
 If some of his compositions seem to us academic, through the sense of 
 preoccupation conveyed, we must not forget that some of what appears to 
 us conventionality comes from the fact that these compositions were so well 
 founded, so admirably ponderated, that imitators have stolen the thought with- 
 out submitting to the preoccupation, and through their own weakness have 
 made the original seem conventional. As to surface-handling, if we accord 
 it the meaning that it usually conveys to-day, that of clever manipulation of 
 pigment, we must remember that practically it did not exist for Raphael's 
 contemporaries. Fresco was the medium used by Tuscans during centuries 
 of wall-decoration, and fresco being water-color, no loading for the sake of 
 effect could be obtained, nor could tricks of handling be perceived at all in 
 works placed at so great a distance from the eye as were most mural dec- 
 orations. . . . 
 
 The fact that skilful manipulation of pigment in surface-handling did not 
 obtain until after Raphael's time does not, however, excuse a relative indif- 
 ference to handling which makes his modeling sometimes appear unconsid- 
 ered, if we compare it with the close and subtle treatment of some of his con- 
 temporaries. Many late fifteenth-century works have a closeness of modeling 
 which is almost Flemish; Raphael's is not like this, and his modeling is at 
 the point of evolution where it ceased to have the delicate, if rather dry, close- 
 ness of certain primitive Tuscan masters, without approaching the breadth 
 of Titian's later manner, or giving even the slightest hint of the robust, square 
 touches which came in the seventeenth century with Velasquez and Hals. 
 Every artist eventually makes his effect with what he cares for most, and 
 modeling per se, whether close or broad, was not what Raphael liked best or 
 next to best. So it was with his color; the evolution of his art work shows 
 that he did not hold color as dearly as an Umbrian and a pupil of Perugino 
 might have been expected to. Had he cared to keep his mind to it he could 
 have always been an agreeable colorist, but probably never an individually 
 great one. ... 
 
 In his later days, when great commissions crowded upon him, when en- 
 voys from kings and dukes stood at his elbow, urging him more and more to 
 satisfy their masters, it would seem as if Raphael grew to care less for color 
 and to slur it. Now and then he had notable changes of heart, as in 'The 
 Miracle of Bolsena.' In this we see Raphael again as assimilator. Having 
 profited by the experiments made by other men in the direction of character, 
 composition, movement, he now, after seeing and admiring the color of the 
 Venetians in the work of Sebastiano del Piombo, reproduces it with surpris- 
 ing success. It is admirably comprehended, but it is not quite Venetian; all 
 the more that it is based upon the work of a man who was himself soon af- 
 fected by the Roman school. It is strong and glowing, but he falls short of 
 Titian; for if the fresco-work of Titian in Padua be coarse in handling, it is 
 
 [160] 
 
RAPHAEL 35 
 
 not so in color, while there is a touch of color-coarseness in 'The Miracle 
 ot' Bolsena.' . . . 
 
 But Raphael experimented and selected incessantly, and kept what he 
 thought was most useful to his presentation; towards the end of his days he 
 sought not nearly so much for color as for dramatic relief; therefore he clung 
 to the black shadows of Leonardo and Fra Bartolommeo, shadows which 
 have blackened still more by the effect of time, and which became more dis- 
 agreeable with Raphael than with Da Vinci, because his modeling was much 
 harder than the latter's. In short, Raphael was able to acquit himself admi- 
 rably in color, but generally preferred to give the time and thought to some- 
 thing else. . . . 
 
 As a composer, Raphael was absolute monarch and ruled as he pleased, 
 taking other men's compositions, if he chose, bettering them, and founding 
 upon them, or inventing new ones of his own, without the slightest sug- 
 gestion of straining; indeed, he banished all sense of strain from his com- 
 position as completely as he eschewed the ugly or painful in his choice of 
 subject. His figures in some of his later works might gesticulate and roll 
 their eyes; but they are easily composed, and, as was fitting in one who over- 
 looked and judged, he brought to art a quality which led all his other ones, 
 the quality of high serenity. 
 
 After his drawings, and in almost equal degree, it is Raphael's composition 
 which brings us nearest to him as an artist, closest to his real intention. In 
 other ways the pupil-assistant is constantly interposed between the master 
 and ourselves, but collaboration, which may blunt outline and make color 
 heavy, is almost powerless to distort composition^ Through the art of com- 
 position he takes his spectator directly by the hand; by concentration he 
 focuses the eye of that spectator upon the point in his picture which is most 
 important; then, by the ordering of the lines, and lights, and shadows, he 
 leads him, as he wishes, from point to point, and gifts him with a sense of 
 well-being, born of the wise distribution of the masses, the chiaroscuro, and 
 the lines. This itinerary is involuntary to the spectator, but is, therefore, all 
 the more delightful, and of this art of composition Raphael was the greatest 
 master of the modern world. 
 
 C|)e jTrestos of 3^ap1^ael 
 
 DESCRIPTIONS OF THE PLATES 
 <THE MIRACLE OF BOLSENA' PLATE I 
 
 THIS world-renowned fresco, painted above and on each side of a win- 
 dow in the 'Stanza d' Eliodoro' in the Vatican, was, with the possible 
 exception of the group of women on the left, painted entirely by Raphael's 
 own hand. It is dated 1512. The subject represents a miracle wrought at 
 
 [161] 
 
36 MASTERS IN ART 
 
 Bolsena in 1263, during the pontificate of Urban iv., when a German priest, 
 who doubted the doctrine of transubstantiation, was convinced by seeing 
 blood flow from the Host that he was consecrating. The scene shows the 
 priest kneeling before the altar in the center of the picture, gazing in aston- 
 ishment and awe at the bleeding wafer; behind him are while-robed chor- 
 isters bearing tapers; and below, a crowd of eager people with upturned faces 
 look upon the miracle. On the other side of the altar. Pope Julius ii. kneels 
 in prayer. Cardinals and prelates are seen in the background, and in the 
 right foreground the papal guards in their liveries, each figure a masterpiece 
 of painting, form a striking group. 
 
 "This work," writes Mr. Henry Strachey, "is perhaps the finest piece of 
 painting, regarded simply as painting, that ever came from the hand of 
 Raphael. The harmony and richness of color are such that it might make 
 a Venetian envious; and of the composition, all that need be said is that it 
 is worthy of Raphael at his best." 
 
 "If there were no architecture around it," write E. H. and E. W. Blash- 
 field, " 'The Miracle of Bolsena' would still be a beautiful picture; but in 
 its accordance with the circumscribing architectural forms it is especially a 
 magnificent composition. In the center the square altar-cloth is a sort of 
 keystone, the pope and the ministrant priest kneel at either side, their lines 
 converging upwards; behind them a choir-screen of carved wood curves 
 slightly in contradiction to the arch of the lunette, which latter is echoed by 
 a small archway just above the center of the screen. To the left and right 
 the kneeling acolytes, prelates and Swiss guards, the woman standing with 
 upraised arm, the steps at either side of the altar, all lead the composition 
 upwards and towards the center, while the pillars at the top continue the up- 
 rights of the window which is pierced through the wall. Everything in this 
 fresco shows how easy to Raphael was the compositional filling of unusual 
 architectural forms, such as broken lunettes or spandrels; he proved this 
 facility again and again, but never more notably than in 'The Miracle of 
 Bolsena.' " 
 
 <THE SIBYLS' PLATE II 
 
 RAPHAEL'S greatest fresco outside of the Vatican is this much-injured 
 k. group of sibyls, attendant angels, and genii painted over the arch of the 
 entrance to the Chigi Chapel in the Church of Santa Maria della Pace, Rome. 
 In no other of the artist's works is Michelangelo's influence so strongly 
 perceptible. "He has walked through my chapel," said the painter of the 
 Sistine frescos when he looked upon Raphael's Sibyls; but although similar 
 in motive, these figures are far more human in type than are those of Michel- 
 angelo, and in their graceful forms and floating draperies are distinctly 
 Raphaelesque. 
 
 At the extreme left of the fresco is the Cumaean Sibyl, her eyes upturned 
 to heaven. Beside her the Persian prophetess writes upon a tablet held by 
 an angel. On the right is the aged Tibunine Sibyl, holding an open book 
 upon her knee, and behind her the Phrygian Sibyl turns to read from a tablet 
 
 ri62] 
 
RAPHAEL 37 
 
 in the hands of an angel seated above. Angels fly through the air with scrolls 
 bearing prophecies, and three winged genii, the central one holding a torch, 
 complete the group. 
 
 Cinelli relates that when Raphael, having received from the rich banker 
 Chigi 500 ducats on account for this fresco, asked for what was still due him 
 of the sum previously agreed upon, he was met by a refusal from Chigi's 
 cashier, whereupon he demanded that the matter be referred to an expert. 
 Michelangelo was selected to decide the question, and at once declared that 
 each head alone was worth 100 ducats. Chigi immediately ordered that 400 
 ducats should be paid to Raphael, admonishing his cashier at the same time 
 to "be courteous with Raphael and satisfy him well, for if he makes us pay 
 for the draperies too we shall be ruined ! " 
 
 THE 'INCENDIO DEL' BORGC PLATE III 
 
 IN 1514 Raphael began the decorations of the Stanza dell' Incendio, in 
 the Vatican, in which the work was for the most part intrusted to his pu- 
 pils, the painting of the 'Incendio del' Borgo,' from which the room derives 
 its name, being the only one of its four large frescos in which his hand is to 
 any extent perceptible. 
 
 The scene represents a miracle accomplished, some six centuries before, 
 by Pope Leo iv., who, by making the sign of the cross, arrested the flames 
 which had broken out among the wooden houses of the Borgo (a quarter of 
 Rome near the Vatican) and threatened to destroy St. Peter's. The old ba- 
 silica is seen in the background, on a balcony of which the pope appears, sur- 
 rounded by prelates. Its steps are crowded with fugitives, and from the 
 houses in the foreground the terrified inhabitants escape as best they may. 
 On one side an old man is borne on the shoulders of his son, a group prob- 
 ably suggested by Virgil's description of JEnezs bearing the aged Anchises 
 from the flames of Troy. A woman drops her child from the top of a high 
 wall into the upstretched arms of a man standing below; a naked youth, 
 grasping the top of the same wall, hangs against it as he drops to the ground, 
 all the muscles of his body showing in tension. On the other side of the 
 picture groups of women including a striking figure of a girl with a water- 
 jar on her head, her garments blown by the wind aid in the attempt to ex- 
 tinguish the flames. 
 
 "In this celebrated work," writes Miintz, "qualities of the first order are 
 blended with great faults. The individual figures are admirable, the energy 
 of the expression is equaled only by the boldness of the design, and the mod- 
 eling is perfect but we feel that Raphael has here renounced that unity and 
 rhythm which had formerly ruled his compositions. In the place of a large 
 and excited crowd, there are but a few groups, sometimes even solitary fig- 
 ures, all without any very intimate cohesion. Hence the scattered interest 
 which in some degree lessens the effect of the work." But although there 
 are evidences here of the decadence that was so soon to follow Raphael's 
 death, although the dramatic element in this exaggerated form fails to move 
 
 [1631 
 
38 MASTERS IN ART 
 
 US, we are yet conscious of the force of the artist, and realize that we are 
 still in the presence of his marvelous creative power. 
 
 'PARNASSUS' [DETAIL] PLATE IV 
 
 ON one of the walls of the Stanza della Segnatura in the Vatican, Raphael 
 painted the celebrated fresco 'Parnassus,' in which Apollo, god of poetry 
 and music, is seated under the shade of laurel-trees on the summit of the 
 sacred mountain, surrounded by the nine Muses. Beside this group are the 
 epic poets of the past. Homer, raising his blind eyes to Heaven, and near 
 him Virgil and Dante. Below, on the slope of the mount, the lyric poets 
 of Greece and Italy, among them Pindar and Horace, Ariosto, Boccaccio, 
 Petrarch, Sappho, and others, converse in groups on either side. The cen- 
 tral portion of this fresco, showing Apollo and the Muses, is here reproduced. 
 
 In his recent work on Raphael, Mr. Henry Strachey says of the figure of 
 Apollo, "For general harmony of line, for perfect balance of mass, and forno- 
 ble grace the Apollo is hard to match. How perfectly balanced is the disposi- 
 tion of the hmbs, and yet how unconstrained! The lights fall naturally in 
 exactly the places which require emphasis, and this perfection of balance in 
 the form of the figure gives the Apollo its grand serenity." 
 
 Though less monumental in composition than the 'Disputa' and 'School 
 of Athens,' the 'Parnassus,' as Perkins says, is to the other frescos of Raphael 
 what the 'Pastoral Symphony' is to other symphonies of Beethoven. It has 
 a serene and idyllic beauty all its own. 
 
 'THE SCHOOL OF ATHENS' PLATE V 
 
 ON the wall of the Stanza della Segnatura of the Vatican, opposite the 
 *Disputa' (shown in Plate viii), Raphael painted the so-called 'School of 
 Athens,' representing an assembly of those Greek philosophers, poets, and 
 men of science who by their labors and profound thought were acknowledged 
 by the Church to have prepared the way for the enlightened faith of Chris- 
 tianity. Under a portico of idealized Renaissance architecture leading to the 
 palace of wisdom stand Plato and Aristotle, surrounded by groups of sages 
 and scholars, among whom are Socrates, Alcibiades, and Xenophon. Diog- 
 enes, the Cynic, clad in rags, reclines on the steps below. On the left, 
 Pythagoras, teacher of arithmetic, forms the center of a group, and on the 
 right Archimedes (in whom Raphael has painted a portrait of the architect 
 Bramante) is engaged in drawing geometrical figures on a tablet on the ground. 
 Among those about him are Ptolemy and Zoroaster bearing respectively the 
 terrestrial and celestial globes, and farther back Raphael has introduced his 
 own likeness and that of the painter Sodoma. 
 
 In so complex a subject as 'The School of Athens,' in the representation 
 of which a knowledge of the general history of Greek philosophy and famil- 
 iarity with the classic authors were required, Raphael is said to have made 
 use of the suggestions and assistance of the men of letters then gathered in 
 Rome; but in the grandeur and dignity of the composition, in the feeling for 
 
 [164] 
 
RAPHAEL 39 
 
 space, and the skilful arrangement of the grouped masses this creation stands 
 as a stupendous result of his own thought and labor. 
 
 THE DELIVERANCE OF ST. PETER' PLATE VI 
 
 "TN the Stanza d' Eliodoro of the Vatican (so-called from the fresco it con- / 
 
 A tains of ' Heliodorus driven from the Temple') and on the wall opposite 
 'The Miracle of Bolsena,'" writes Julia Cartwright, "Raphael painted 'The 
 Deliverance of St. Peter,' in significant allusion to the memorable escape of 
 Pope Leo X. from the hands of his French captors after the battle of Ravenna. 
 In the central space above the windows the delivering angel is seen through 
 the prison-bars, stooping to awaken St. Peter, who lies bound between two 
 soldiers. On the right the same bright form leads the apostle by the hand 
 down the steps and past the sleeping guards, while on the left a soldier bear- 
 ing a lighted torch rushes up the opposite flight of stairs to give the alarm. 
 The most striking thing in this picture is the fine effect produced by the 
 three separate lights the angel whose radiance illumines the darkness of 
 the prison, the flaming torch in the soldier's hand, and the crescent moon, 
 which hangs over the sleeping city. The way in which these different lights 
 were handled roused the admiration of Raphael's contemporaries to the high- 
 est pitch, and made Vasari declare this fresco to be the painter's most won- 
 derful work." 
 
 SCENES FROM THE STORY OF CUPID AND PSYCHE PLATE VII 
 
 THE frescos representing the story of Cupid and Psyche in an open loggia 
 (since inclosed) of the Farnesina Villa, were designed by Raphael, and 
 painted almost wholly by his pupils Giulio Romano, Gianfrancesco Penni, 
 and others. In his illustrations of the story, consisting of a series of twelve 
 frescos, two on the ceiling and ten in the triangular pendentives enframed in 
 borders of fruit and flowers with a background of blue sky, Raphael has fol- 
 lowed the version of Apuleius, a Latin author of the second century, whose 
 works were popular at the time of the Renaissance. 
 
 Psyche, the youngest daughter of a certain king, aroused by her beauty, so 
 the story goes, the jealousy of Venus, who accordingly directed Cupid to punish 
 the princess by inspiring her with love for an unworthy mortal. But Cupid, 
 in the attempt to carry out his mother's commands, fell in love with Psyche 
 and bore her away to a lovely valley, where every night, and always invis- 
 ible, he visited her, warning her not to attempt to look upon him. Psyche, 
 however, burning with curiosity to behold her lover, disobeyed his command, 
 and was abandoned by the god in anger. After wearisome wanderings in search 
 of him, and innumerable hardships imposed upon her by Venus, Cupid's heart 
 was touched and he besought Jupiter to give him Psyche. This request being 
 granted. Mercury was called to conduct her to Olympus. Upon her appear- 
 ance in the assembly of the gods she was given the draught of immortality, 
 and the marriage feast of Cupid and Psyche was forthwith celebrated. 
 
 Plate VII reproduces two scenes from this fresco; in one Cupid is showing 
 Psyche to the Graces (of whom the one with her back turned to the specta- 
 
 [165] 
 
40 MASTERSINART 
 
 tor, and noticeable for the delicate modeling of her form, is said to be the only 
 figure in the whole series painted by Raphael himself); and in the other, Mer- 
 cury, in obedience to Jupiter's command, is conducting Psyche to Olympus, 
 which he points out to her wondering gaze as they approach. 
 
 Owing in part to the inferior brush-work of pupils, and in part to the un- 
 fortunate "restoration" made by Carlo Maratta in the seventeenth century, 
 much of the beauty of Raphael's designs has been marred; but as Vasari's 
 recent editors say, "This series of frescos is at once a high-water mark of the 
 vigor of Italian art and a monumental example of its decadence. We have 
 nowhere a more astonishing proof than here of the strength of the spirit of 
 the Renaissance, a strength that could burst through and triumph over all 
 faults of material execution. In spirit and in decorative adaptability of the 
 designs to the spaces filled, the pendentives of the Farnesina count among the 
 best of Raphael's works; in execution they are so coarse and sometimes so 
 slovenly as to be at the first glance almost repellent. Raphael, fresco-painter, 
 painter of Madonnas, sculptor, mosaic-worker, architect of St. Peter's, over- 
 burdened with commissions, harassed by patrons, gave over the whole exe- 
 cution of this work to his pupils; yet in spite of the brick red flesh-tints and 
 brutal outlines, in spite of Maratta's staring blues in over-painted skies, the 
 spirit of the epoch and of Raphael is so strong that in these pendentives we 
 see again the joyous, serene life of the Greeks as reconquered by the Re- 
 naissance." 
 
 THE DISPUTA' PLATE VIII 
 
 THIS great fresco, the first large work painted by Raphael in the Vati- 
 can, occupies one of the side walls of the Stanza della Segnatura. Its 
 arrangement seems to have been suggested by the arched mosaics of the apses 
 of early churches, and as an example of monumental composition it is un- 
 surpassed. The comparatively modern title, the 'Disputa,' or 'Discussion 
 Concerning the Sacrament,' is a misnomen, for the scene might better be 
 defined as 'The Glorification of the Christian Faith.' In the upper part of 
 the fresco the Almighty in glory is surrounded by angels and cherubim; 
 lower down, relieved against a background resplendent with gold, Christ is 
 seated between John the Baptist and the Virgin; and underneath are twelve 
 patriarchs, prophets, and apostles. Angels float in the clouds amidst which 
 these groups are placed, and in the center four winged genii, two on either 
 side of the dove, symbolic of the third member of the Trinity, fly earthwards 
 bearing the Gospels to a multitude below, composed of saints and confes- 
 sors, learned doctors, exponents of the law, painters, poets, old men and 
 youths, gathered about an altar which supports the mystic symbol of Christ's 
 presence. Among those represented Raphael has placed at the right, among 
 popes and cardinals, Savonarola, in the habit of a monk, who had been put 
 to death in Florence as a heretic only eleven years before. Near him may 
 be seen the laurel-crowned head of Dante, and on the extreme left Fra An- 
 gelico. The figure leaning on the balustrade in the foreground has been iden- 
 tified as Bramante, then the architect of St. Peter's. 
 
 [166] 
 
RAPHAEL 41 
 
 Mr. Berenson cites this great fresco as an example of Raphael's consum- 
 mate skill as a space-composer. "Look," he says, "at that majestic theophany 
 known as the 'Disputa.' The most obvious architecture could not better in- 
 dicate the depth and roundness of a dome; but no architectural dome could 
 so well convey a sense of the vastness, yet commensurability, nay, shall we 
 not say of the companionship, of space. How much greater, how much purer 
 than one's ordinary self how transfigured one feels here! The forms in 
 the 'Disputa' are noble in intention, as they always are in Raphael's best 
 work. But think away the spaciousness of their surroundings. What has be- 
 come of the solemn dignity, the glory that radiated from them? It has gone 
 like divinity from a god." 
 
 "This celebrated work," writes Miintz, "is justly regarded as the highest 
 expression of Christian painting and the most perfect summary of fifteen 
 centuries of faith. It is more than a masterpiece of art; it marks an epoch 
 in the development of the human mind." 
 
 <GARLAND-BEARER ' . PLATE IX 
 
 THIS fragment is all that remains of some armorial bearings frescoed by 
 Raphael in the Vatican, and destroyed when alterations in the palace 
 caused the room they decorated to be demolished. This so-called 'Garland- 
 bearer,' one of the supporters of an escutcheon of Pope Julius ii., was then 
 cut from the wall and is now preserved in the Academy of St. Luke in Rome. 
 The figure, which, as Taine says, "is as strong, as full of life, and as simple 
 as a Pompeian antique," is, notwithstanding its battered and mutilated con- 
 dition, a work of great beauty, and is characteristic of Raphael at his best 
 period. 
 
 <THE TRIUMPH OF GALATEA' PLATE X 
 
 IN the year 1514 Raphael painted this famous fresco in his friend Agostino 
 Chigi's villa on the banks of the Tiber, now known as the Farnesina Villa, 
 from the Farnese family, into whose possession it passed at the end of the 
 sixteenth century. 
 
 "As Philostratus," writes Perkins, "described Galatea the sea-nymph, sail- 
 ing in triumph over the sea in a shell drawn by dolphins surrounded by nymphs 
 and tritons, holding her purple robe over her head to catch the zephyr and to 
 shield herself from the sun's rays, so Raphael has painted her, with such slight 
 changes as suited his purpose. Standing in an attitude of consummate grace, 
 with her mantle fluttering in the wind, she holds the reins loosely in her hands, 
 leaving the guidance of her dolphin steeds to a cupid, who lies like a sunbeam 
 upon the water. His fellows, with arrows fitted to their bow-strings, circle 
 the air like swallows on the wing, and a crowd of burly tritons, sounding 
 their conch-shells, and bearing nymphs in their strong arms, splash through 
 the blue waters in all the pride of exuberant life." 
 
 In a letter written to his friend Count Castiglione, in the summer of 1 5 14, 
 Raphael says: "As for the 'Galatea,' I should think myself a great painter if 
 
 [167] 
 
42 MASTERS IN ART 
 
 I could believe half the kind things that your lordship writes about it. I am 
 forced, however, to recognize that they are chiefly dictated by the love you 
 bear me. If I am to paint a beautiful woman I ought to see several, and to 
 have you at my side to point out the special beauties of each. But since good 
 judgment and fair women are rare, I work from a certain ideal that I have 
 in my mind. Whether this ideal have in it any artistic excellence I know 
 not, but at least I do my best to attain it." 
 
 The figure of the fair-haired Galatea, and indeed the greater part of the 
 whole fresco, was painted by Raphael himself; it is only in the coarser paint- 
 ing of the tritons and the dolphins that the touch of Giulio Romano and of 
 other pupils is observable. The original colors have faded, and the beauty of 
 the work has been sadly impaired by time, but the joyousness of Greek life 
 still breathes from this frescoed wall, so that we seem to feel the fresh breeze 
 that blows the white foam, and smell the salt of the sea over which Galatea 
 is borne in her triumph. As Symonds has said, "The rapture of Greek art 
 in its most youthful moment has never been recaptured by a modern painter 
 with more force and fire of fancy than in the 'Galatea.'" 
 
 A LIST OF THE PRINCIPAL FRESCOS BY RAPHAEL AND OF THOSE EXECUTED 
 BY HIS PUPILS FROM HIS DESIGNS 
 
 ITALY. Perugia, Chapel of San Severo: The Trinity Rome, Church of Sant' 
 Agostino: The Prophet Isaiah Rome, Farnesina Villa: Triumph of Galatea 
 (Plate X); Story of Cupid and Psyche (see Plate vii) Rome, Academy of St. Luke: 
 Garland-bearer (Plate ix) Rome, Church of Santa Maria della Pace: The Sibyls 
 (Platen) Rome, the Vatican, the Stanze [Stanza della Segnatura] : Poetry; 
 Theology; Philosophy; Justice; Apollo and Marsyas; Adam and Eve; Astronomy; Judg- 
 ment of Solomon; *Disputa' (Plate via); School of Athens (Plate v); Parnassus (see 
 Plate iv); Jurisprudence; Justinian giving his Code to Tribonian; Gregory ix. publishing 
 the Decretals. [Stanza d'Eliodoro] : God appearing to Noah; Abraham's Sacrifice; Ja- 
 cob's Dream; Moses and the Burning Bush; Heliodorus driven from the Temple; Miracle 
 of Bolsena (Plate i); Deliverance of St. Peter (Plate vi); Retreat of Attila. [Stanza dell' 
 Incendio]: Coronation of Charlemagne; 'IncendiodeP Borgo' (Plate lii); Battle of Os- 
 tia; Oath of Leo III. [Sala Dl CosTANTiNo] : Baptism of Constantine; Defeat of Max- 
 entius; Address of Constantine to his Troops; Donation of Rome to Sylvester; Overthrow 
 of Paganism Rome, the Vatican, the Loggie: Fifty-two scenes from the Old and 
 New Testaments in decorative settings Rome, the Vatican, Bath-room of Cardi- 
 nal BiBBiENA: Mythological subjects. 
 
 A SHORT list of the prbcipal books dealing vdth Raphael was given in Volume I, 
 Part 12, of this Series, which treats of his easel-pictures. For an exhaustive bib- 
 liography, however, the reader is referred to ' Les Historiens et les critiques de Raphael, 
 1483-1883,' by Eugene Miintz. (Paris, 1883.) 
 
 [1G8] 
 
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 (J6057b10)476 A-82 
 
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