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part of that early training which enabled him to produce paintings of apparently mature beauty when he was scarcely twenty years of age. The See also:

ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece painted by Giovanni for the See also:

church of Gradara, and a See also:

FRESCO (Ital. for cool, " fresh ")

fresco, now preserved in the Santi house3 at Urbino, are clearly prototypes of some of Raphael's most graceful paintings of the Madonna and See also:

Child. On the See also:

DEATH

death of his father in 1494 Raphael was See also:

LEFT

left in the care of his stepmother (his own See also:

MOTHER

mother, Magia Ciarla, having died in 1491) and of his See also:

UNCLE

uncle, a See also:

PRIEST (Ger. Priester, Fr. pretre)

priest called Bartolomeo.' First or Perugian See also:

Period.—In what year Raphael was apprenticed to See also:

PERUGINO, PIETRO (1446-1524)

Perugino and how the See also:

INTERVAL

interval before that was spent are matters of doubt. See also:

VASARI, GIORGIO (1511-1571)

Vasari's statement that he was sent to See also:

PERUGIA (anc. Perusia)

Perugia during his father's lifetime is certainly a See also:

MISTAKE (i.e. take amiss)

mistake. On the whole it appears most probable that he did not enter Perugino's studio till the end of 1499, as during the four or five years before that Perugino was mostly absent from his native city.' The so-called See also:

SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

Sketch See also:

BOOK

Book of Raphael in the See also:

academy of See also:

Venice contains studies apparently from the cartoons of some of Perugino's Sistine frescoes, possibly done as practice in See also:

DRAWING

drawing. This celebrated collection of See also:

THIRTY

thirty drawings, now framed or preserved in portfolios, bears signs of having once formed a See also:

BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound book, and has been supposed to be a sketch-book filled by Raphael during his Perugian See also:

APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship. Many points, however, make this tempting See also:

HYPOTHESIS (from Gr. inrorcOivat, to put under; cf. Lat. suppositio, from sub-ponere)

hypothesis very improbable; the fact that the drawings were not all originally on leaves of the same See also:

SIZE

size, and the See also:

MISCELLANEOUS

miscellaneous See also:

CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the sketches—varying much both in See also:

style and merit of See also:

EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution—seem to show that it is a collection of studies by different hands, made and bound together by some subsequent owner, and may contain but very few drawings by Raphael himself.' Before See also:

long Raphael appears to have been admitted to See also:

SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in the execution of paintings by his See also:

MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master; and his See also:

TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch can with more or less certainty be traced in some of Perugino's panels which were executed about 1502. Many of those who, like See also:

Crowe and Cavalcaselle, adopt the earlier date of Raphael's apprenticeship, believe that his See also:

hand is visible in the execution of the beautiful See also:

SERIES (a Latin word from serere, to join)

series of frescoes by Perugino in the See also:

SALA, GEORGE AUGUSTUS HENRY (1828-1895)

Sala del Cambio, dated 1500; as does also M.

Miintz in his excellent Raphael, sa See also:

vie, Paris, 1881, in spite of his accepting the end of 1499 as the period of Raphael's first entering Perugino's studio, —two statements almost impossible to reconcile. Considering that Raphael was barely seventeen when these frescoes were painted, it is hardly reasonable to attribute the finest heads to his hand; nor did he at an early age master the difficulties of fresco buono. The Resurrection of See also:

Christ in the Vatican and the Diotalevi Madonna in the See also:

Berlin Museum are the See also:

PRINCIPAL

principal pictures by Perugino in parts of which the touch of Raphael appears to be visible, though any real certainty on this point is unattainable.' About 1502 Raphael began to execute See also:

INDEPENDENT

independent works; four pictures for churches at Citta di See also:

Castello were probably the earliest of these, and appear to have been painted in the years 15o2-4. The first is a gild-banner painted on one See also:

side with the Trinity, and below, kneeling figures of S. See also:

Sebastian and S. Rocco; on the See also:

REVERSE

reverse is a Creation of See also:

Eve, very like Perugino in style, but possessing more See also:

grace and breadth of treatment. These are still in the church of S. Trinita.' Also 1 The See also:

ADMINISTRATION (Lat. administrare, to serve)

administration of Giovanni Santi's will occasioned many painful family disputes and even appeals to See also:

law; see Pungileoni, El. Stor. di Raffaello. 'Crowe and Cavalcaselle (Life of Raphael, vol. i., See also:

LONDON

London, 1882) adopt the notion that Raphael went to Perugia in 1495, but the reasons with which they support this view appear insufficient. See an excellent See also:

CRITICAL (in alphabetical order of authors)

critical examination of the Sketch Book by See also:

MORELLI, GIOVANNI (1816-1891)

Morelli, Italian Masters in See also:

German Galleries, translated by Mrs See also:

Richter (London, 1882); according to Morelli, only two drawings are by Raphael. Schmarsow, " Raphael's Skizzenbuch in Venedig,'° in Preussische Jahrbiicher, xlviii. pp.

122-149 (Berlin, 1881), takes the opposite view. But Kahl, Das venezianische Skizzenbuch (See also:

LEIPZIG

Leipzig, 1882), follows Morelli's See also:

OPINION (Lat. opinio, from opinari, to think)

opinion, which has been generally adopted. Parts of Perugino's beautiful See also:

TRIPTYCH (Gr. rpiary os, three-fold, made in three layers, TpL-, rpeis, three; arux1, a fold; 7rr(uoELv, to fold, double over)

triptych of the Madonna, with the archangels Raphael and See also:

Michael, painted for the Certosa near See also:

PAVIA (anc. Ticinum, q.v.)

Pavia and now in the See also:

NATIONAL

National See also:

GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of London, have been attributed to Raphael, but with little See also:

REASON (Lat. ratio, through French raison)

reason. Perugino's See also:

GRAND

grand altar-piece at See also:

Florence of the See also:

ASSUMPTION, FEAST OF

Assumption of the Virgin shows that he was quite capable of See also:

PAINTING

painting figures equal in beauty and delicacy to the St Michael of the Certosa triptych. See Frizzioni, L'Arte Italiana nella Gal. Nat. di Londra (Florence, i88o). s For an account of processional See also:

BANNERS, FEAST OF (Jap. Nobori-no-Sekku)

banners painted by distinguished artists, see Mariotti, Lettere pittoriche Perugine, p. 76 seq.for Citta di Castello were the See also:

CORONATION (Lat. corona, crown)

coronation of S. Niccolo See also:

TOLENTINO (anc. Tolentinum Picenum)

Tolentino, now destroyed, though studies for it exist at See also:

Oxford and See also:

LILLE

Lille (Gaz. d. B. Arts, 1878, i. p. 48), and the Crucifixion, now in the See also:

Dudley collection, painted for the church of S.

Domenico, and signed RAPHAEL VRBINAS P. It is a See also:

PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel 8 ft.6 in. high by 5 ft. 5 in. wide, and contains See also:

NOBLE, SIR ANDREW (1832- )

noble figures of the Virgin, St See also:

John, St See also:

Jerome and St See also:

Mary Magdalene. The See also:

FOURTH

fourth painting executed for this See also:

TOWN

town, for the church of S. See also:

Francesco, is the exquisitely beautiful and highly finished Sposalizio, now in the Brera at See also:

Milan, signed and dated RAPHAEL VRBINAS MDIIII. This is closely copied both in See also:

composition and detail from Perugino's painting of the same subject now at See also:

CAEN

Caen, but is far See also:

SUPERIOR

superior to it in sweetness of expression and grace of attitude. The See also:

Temple of See also:

Jerusalem, a domed octagon with See also:

OUTER

outer See also:

AMBULATORY (Med. Lat. ainbulatorium, a place for walking, from ambulare, to walk)

ambulatory in Perugino's picture, is reproduced with slight alterations by Raphael, and the attitudes and grouping of the figures are almost exactly the same in both. The Connestabile Madonna is one of Raphael's finest works, painted during his Perugian period; it is a See also:

ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round panel; the See also:

MOTIVE (from Lat. movere, to move)

motive, the Virgin See also:

READING

reading a book of See also:

HOURS, CANONICAL

hours, is a favourite one with him, as it was with his father Giovanni. This lovely picture was lost to Perugia in 1871, when See also:

COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Connestabile sold it to the See also:

EMPEROR (Fr. empereur, from the Lat. imperator)

emperor of See also:

Russia for £13,200. Second or Florentine Period, zgo4-zgo8.- From 1504 to 15o8 Raphael's life was very stirring and active. In the first See also:

HALF

half of 1504 he visited Urbino, where he painted two small panels for Duke Guidobaldo, the St See also:

George and the St Michael of the Louvre. His first and for him momentous visit to Florence was made towards the end of 1504, when he presented himself with a warm See also:

LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter of recommendations from hispatroness See also:

JOANNA (1479-1555)

Joanna della Rovere to the gonfaloniere See also:

PIER (older forms per or Pere, from Med. Lat. pera; the word for piers out of water. For river piers, where a firm, watertight is of obscure origin, and the connexion with Fr. Pierre, Lat. stratum is found at a moderate depth below the river-bed, the pctr

Pier See also:

SODERINI, PIERO (1450-1513)

Soderini.

In Florence Raphael was kindly received, and, in spite of his youth (being barely of age), was welcomed as an equal by the See also:

MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of those great artists who at that See also:

time had raised Florence to a See also:

pitch of artistic celebrity far above all other cities of the See also:

WORLD

world. At the time of his arrival the whole of artistic Italy was being excited to See also:

ENTHUSIASM

enthusiasm by the cartoons of the See also:

BATTLE

battle of Anghiari and the See also:

war with See also:

Pisa, on which Leonardo da See also:

VINCI, LEONARDO (1690-173o)

Vinci and See also:

MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo were then devoting their utmost energies. To describe the various influences under which Raphael came, and the many See also:

SOURCES

sources, from which be drank in stores of artistic knowledge, would be to give a See also:

COMPLETE

complete history of Florentine art in the 15th See also:

CENTURY (from Lat. centuria, a division of a hundred men)

century.' With astonishing rapidity he shook off the mannerisms of Perugino, and put one great artist after another under contribution for some See also:

SPECIAL

special See also:

POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of drawing, beauty of See also:

COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, or grace of composition in which each happened to excel. Nor was it from painters only that Raphael acquired his enlarged See also:

field of knowledge and rapidly growing See also:

POWERS, HIRAM (1805-1873)

powers. Sculptors like See also:

GHIBERTI, LORENZO (137$–1455)

Ghiberti and See also:

DONATELLO (diminutive of Donato) (c. 1386-1466)

Donatello must be numbered among those whose works helped to develop his new-born style.' The See also:

CARMINE

Carmine frescoes of See also:

MASACCIO (1402-1429)

Masaccio and Masolino taught this eager student long-remembered lessons of methods of dramatic expression.' Among his contemporaries it was especially See also:

SIGNORELLI, LUCA (c. 1442-c. 1524)

Signorelli and Michelangelo who taught him the importance of precision of See also:

LINE

line and the See also:

NECESSITY (Lat. necessitas)

necessity of a thorough knowledge of the human See also:

FORM (Lat. forma)

form.10 From da Vinci he learnt subtleties of modelling and soft beauty of expression," from Fra Bartolommeo See also:

NOBILITY

nobility of composition and skilful treatment of drapery in dignified folds." The friendship between Raphael and the last of these was very See also:

close and lasted for many years. The architect See also:

BACCIO

Baccio d'Agnolo was another of his special See also:

friends, at whose house the See also:

young painter enjoyed social intercourse ' This letter, which still exists, was sold in Paris in 1856, and is now in private hands. ' See See also:

MINGHETTI, MARCO (1818-1886)

Minghetti, " I Maestri di Raffaello," in the Nuova Antologia, 1st See also:

AUGUST (originally Sextilis)

August 1881. 8 See his sketch of St George and the See also:

DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

Dragon, in the Uffizi, largely taken from Donatello's See also:

PEDESTAL (Fr. piedestal, Ital. piedestallo, foot of a stall)

pedestal See also:

RELIEF

relief outside Or See also:

San Michele. See his See also:

CARTOON (Ital. cartone, pasteboard)

cartoon of St See also:

Paul See also:

PREACHING (Fr. preecher, from Lat. praedicare, to proclaim)

preaching at See also:

Athens (Victoria and See also:

Albert Museum). 10 See many of his life-studies, especially the one he sent to Albert Darer, now at See also:

Vienna. 11 See the portrait of Maddalena Doni in the Pitti. 12 See the Madonna del Baldacchino in the Pitti.

with a large circle of the chief artists of Florence, and probably See also:

RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of his visit to See also:

SIENA

Siena exists in a sketch of the See also:

ANTIQUE (Lat. antiquus, old)

antique learned from him much that was afterwards useful in his practice as an architect. The transition in Raphael's style from his first or Perugian to his second or Florentine manner is well shown in the large picture of the Coronation of the Virgin painted for Maddalena degli Oddi, now in the Vatican, one of the most beautiful that he ever produced, and especially remarkable for its strong religious sentiment—in this respect a great contrast to the paintings of his last or See also:

ROMAN

Roman manner which hang near it. The exquisite grace of the See also:

ANGEL

angel musicians and the beauty of the faces show signs of his See also:

SHORT, FRANCIS JOB (1857– )

short visit to Florence, while the See also:

general formality of the composition and certain details, such as the fluttering ribands of the angels, recall peculiarities of Perugino and of See also:

PINTURICCHIO (1454–1513)

Pinturicchio, with whose See also:

FINE

fine picture of the same subject hung close by it is interesting to compare it. Raphael's paint- See also:

ing, though by far the more beautiful of the two, is yet inferior to that of Pinturicchio in the composition of the whole; an awkward See also:

HORIZONTAL

horizontal line divides the upper See also:

GROUP

group of the Coronation from that below, the apostles See also:

STANDING

standing round the Vir- See also:

gin's See also:

TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb, filled with See also:

ROSES, WARS OF THE

roses and lilies (See also:

DANTE

Dante, See also:

PAR (Lat. par, equal)

Par. See also:

XXIII

xxiii. 73), while the older Perugian has skil- fully See also:

UNITED

united the two See also:

groups by a less formal arrange- ment of the figures. The See also:

PREDELLA

predella of this master- piece of Raphael is also in the Vatican; some of its small paintings, especially that of the figures in the Coronation of the Vir- gin, are interesting as g Illustratin Raphael's use of d in (Vatican). In the Lille museum. showing his careful study See also:

MODELS

models dun g his early period. raped of the rules of perspec- tive.' Several prepara- tory sketches for this picture exist: fig. 1 shows a study, now at Lille, for the two principal figures, Christ setting the See also:

CROWN

crown on His mother's See also:

head (see fig. 2). It is See also:

DRAWN

drawn from two youths in the See also:

ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress of the time; and it is interesting to compare it with his later studies from the nude, many of which are for figures which in the future picture were to be draped. It was at Florence, as Vasari says, that Raphael began serious life studies, not only from nude models but also by making careful anatomical drawings from dissected corpses and from skeletons. His first visit to Florence lasted only a few months; in 1505 he was again in Perugia painting his first fresco, the Trinity and See also:

SAINTS, BATTLE OF THE

Saints for the Camaldoli monks of San Severo, now a See also:

mere See also:

WRECK

wreck from injury and restorations.

The date MDV and the See also:

SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature were added later, probably in 1521. Part of this See also:

WORK

work was left incomplete by the painter, and the fresco was finished in 1521 (after his death) by his old master Perugino.' It was probably earlier than this that Raphael visited Siena and assisted Pinturicchio with sketches for his See also:

Piccolomini frescoes.' The Madonna of S. See also:

Antonio was also finished in 1505, but was probably begun before the Florentine visit." A ' While at Florence he is said to have taught the See also:

SCIENCE (Lat. scientia, from scire; to learn, know)

science of See also:

PERSPECTIVE (Lat. peespicere, to see through)

perspective to his friend Fra Bartolommeo, who certainly gave his young instructor valuable lessons on composition in return. 2 The fresco of the Last Supper, dated 1505, in the See also:

REFECTORY (med. Lat. refectorium, from reficere, to refresh)

refectory of S. Onofrio at Florence, is not now claimed as a work of Raphael's, in spite of a signature partly introduced by the restorer. ' Raphael probably had no hand in the actual execution of the paintings; see Schmarsow, Raphael and Pinturicchio in Siena (See also:

STUTTGART

Stuttgart, 188o), and See also:

MILANESI, GAETANO (1813-1895)

Milanesi, in his edition of Vasari, iii. p. 515 seq., appendix to life of Pinturicchio. ' This fine altar-piece, with many large figures, is now the property of the heirs of the duke of Ripalta, and is stored in the See also:

BASEMENT

basement of the National Gallery, London. See also:

MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble group of the Three See also:

GRACES, THE, (Gr. X&panes, Lat. Gratiae)

Graces, then in the See also:

CATHEDRAL

cathedral library, from which, not long afterwards, he painted the small panel of the same subject now in See also:

Lord Dudley's collection. In 15o6 Raphael was again in Urbino, where he painted for the duke another picture of St George, which was sent to See also:

England as a See also:

PRESENT

present to See also:

Henry VII. The See also:

BEARER

bearer of this and other gifts was Guidobaldo's See also:

AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador, the accomplished Baldassare See also:

Castiglione (q.v.), a friend of Raphael, whose noble portrait of him is in the Louvre. At the court of Duke Guidobaldo the painter's ideas appear to have been led into a more See also:

SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular direction, and to this stay in Urbino probably belong the Dudley Graces, the miniature " See also:

Knight's See also:

DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream of See also:

DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

Duty and See also:

PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

Pleasure " in the National Gallery (London),' and also the " Apollo and Marsyas," sold in 1882 by See also:

Morris See also:

Moore to the Louvre for £ro,000, a most lovely little panel, painted with almost Flemish minuteness, rich in colour, and graceful in arrangement.

Towards the end of 1506 Raphael returned to Florence, and there (before 1508) produced a large number of his finest works, carefully finished, and for the most part wholly the work of his own hand. Several of these are signed and dated, but the date is frequently very doubtful, owing to his See also:

CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom of using Roman numerals, introduced among the sham Arabic embroidered on the borders of dresses, so that the I.'s after the V. are not always distinguishable from the straight lines of the See also:

ORNAMENT (Lat. ornare, to adorn)

ornament. The following is a See also:

list of some of his chief paintings of this period: the " Madonna del Gran Duca " (Pitti) ; " Madonna del Giardino," 1506 (Vienna); " See also:

HOLY

Holy Family with the See also:

Lamb," r5o6 or 1507 (See also:

MADRID

Madrid) ; the " Ansidei Madonna," 15o6 or 1507 (National Gallery); the See also:

BORGHESE

Borghese "Entombment," 1507; Lord See also:

Cowper's " Madonna " at Panshanger, 15o8; " La bella Giardiniera," ' This See also:

MISSAL

missal-like painting is about 7 in. square; it was bought in 1847 for moo guineas. The National Gallery also possesses its cartoon, in See also:

brown See also:

INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink, pricked for transference. In spite of some adverse opinions, frequently expressed with extreme virulence, the genuineness of this little See also:

gem can hardly be doubted by any one who carefully studies it without See also:

bias. Sketches for it at Venice and in the Uffizi also appear to See also:

bear the impress of Raphael's manner. See Delaborde, Etudes sur les B. Arts . . en Italie, i. p. 236; Gruyer, Raphael et l'antiquite, ii. p. 421; Eitelberger, Rafael's Apollo and Marsyas (Vienna, 1860) ; Batte, Le Raphael de M. Moore (Paris, 1859) ; and also various See also:

PAMPHLETS

pamphlets on it by its former owner, Mr.

Morris Moore. 1508 (Louvre); the " Eszterhazy Madonna," probably the same year; as well as the " Madonna del Cardellino " (Uffizi), the " Tempi Madonna " (See also:

MUNICH (Ger. Munchen)

Munich), the " See also:

Colonna Madonna " (Berlin), the " See also:

Bridgewater Madonna " (Bridgewater House), and the " See also:

Orleans Madonna " (duc d'See also:

Aumale's collection). The " Ansidei Madonna " was bought in 1884 for the National Gallery from the duke of See also:

Marlborough for £70,000, more than three times the highest See also:

price ever before given for a picture.' It was painted for the Ansidei family of Perugia as an altar-piece in the church of S. Fiorenzo, and is a work of the highest beauty in colour, well preserved and very large in See also:

scale. The Virgin with veiled head is seated on a See also:

THRONE

throne, supporting the See also:

INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant with one hand and holding a book in the other. Below stands S. Niccolo da Tolentino, for whose altar it was painted; he holds a book and a See also:

crozier, and is clad in jewelled See also:

MITRE (Lat. mitra, from Gr. j4rpa, a band, head-band, head-dress)

mitre and See also:

green See also:

cope, under which appear the See also:

ALB (Lat. alba, from albus, white)

alb and See also:

CASSOCK (Fr. casaque, a military cloak)

cassock. On the other side is the Baptist, in red See also:

MANTLE

mantle and See also:

CAMEL (from the Arabic Djemal or the Heb. Gamal)

camel's-See also:

HAIR (a word common to Teutonic languages)

hair See also:

TUNIC (0. Eng. tunice, tunical, taken, before the Norman con-quest, directly from Lat. tunica, of which the origin is unknown)

tunic, holding a crystal See also:

CROSS

cross. The rich jewellery in this picture is painted with Flemish-like minuteness. On the border of the Virgin's robe is a date, formerly read as MDV by Passavant and others; it really is MDVI or MDVII. If the later date is the true one, the picture was probably begun a year or two before. A. favourite method of grouping his Holy Families is that seen in,the " Madonna del Cardellino " and the " Bella Giardiniera," in which the See also:

main lines form a See also:

PYRAMID

pyramid.

This arrangement is also used in the " Madonna del Giardino " and in the larger group, including St See also:

Joseph and St See also:

Elizabeth, known as the " Canigiani Holy Family, " now at Munich, one of the least graceful of all Raphael's compositions. The " Entombment of Christ," now in the Galleria Borghese in See also:

Rome, was painted during a visit to Perugia in 1507 for See also:

LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

ATALANTA

Atalanta Baglioni, in memory of the death of her brave and handsome but treacherous son Grifonetto, who was killed in 1500 by his enemies the Oddi party,? The many studies and preliminary sketches' for this important picture which exist in various collections show that it cost Raphael an unusual amount of thought and labour in its composition, and yet it is quite one of his least successful paintings, especially in colour. It is, however, much injured by scraping and repainting, and appears not to be wholly by his hand. The " Madonna del Baldacchino," one of the finest compositions of the Florentine period, owing much to Fra Bartolommeo, is also unsatisfactory in execution; being left unfinished by Raphael, it was completed by Ridolfo See also:

Ghirlandajo, by whom the ungraceful angels of the upper part and the See also:

CANOPY (through Fr. canape, from Med. Lat. canapeum, classical conopeum, a mosquito curtain, Gr. K6v(.4, a gnat)

canopy were wholly executed, and even designed. It was painted for the Dei family as an altar-piece for their See also:

CHAPEL

chapel in S. Spirito, Florence. The " St See also:

Catherine " of the National Gallery was probably painted in 15o7; its cartoon, pricked for transference, is in the Louvre. In colouring it much resembles parts of the Borghese " Entombment," being quiet and See also:

grey in See also:

TONE, THEOBALD WOLFE (1763-1798)

tone. To the Florentine period belong some of his finest portraits, and it is especially in these that da Vinci's See also:

INFLUENCE (Late Lat. influentia, from influere, to flow in)

influence appears. The portraits of Angelo Doni and his wife Maddalena (Pitti) are vivid and carefully executed paintings, and the unknown lady with hard features (now in the Uffizi) is a masterpiece of noble See also:

REALISM (from Low Lat. realis, appertaining to res, things, as opposed to ideas and imaginations)

realism and conscientious finish. The Czartoriski portrait, a graceful effeminate-looking youth with long hair and tapering hands, now moved to See also:

CRACOW (Pol. Krakov; Ger. Krakau)

Cracow, is probably a work of this period; though worthy to See also:

RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank with Raphael's finest portraits, its authenticity has been doubted.

Very similar in style is the Herrenhausen portrait, once attributed to Giovanni See also:

Bellini, but an undoubted work of Raphael, in his second manner; it also represents a young See also:

man with long hair, close-shaven See also:

CHIN

chin, a wide See also:

CLOTH

cloth See also:

hat and See also:

black dress, painted in half-length. The ' It is engraved at p. 53, vol. ii., of Dohme, Kunst and Kiinstler See also:

des ?blittelalters (Leipzig, 1878), a work which has many See also:

GOOD, JOHN MASON (1764-1827)

good reproductions of Raphael's paintings and sketches. 2 See See also:

Symonds, Sketches in Italy, the See also:

CHAPTER (a shortened form of chapiter, a word still used in architecture for a capital; derived from O. Fr. chapitre, Lat. capitellum, diminutive of caput, head)

chapter on Perugia, mainly taken from the contemporary See also:

CHRONICLE (from Gr. Xpovos, time)

chronicle of Matarazzo. ' These show that Raphael at first intended to paint a Deposition from the Cross, and afterwards altered his See also:

SCHEME (Lat. schema, Gr. oxfjya, figure, form, from the root axe, seen in exeiv, to have, hold, to be of such shape, form, &c.)

scheme into the Entombment; an excess of study and elaboration partly account for the shortcomings of this picture.so-called Portrait of Raphael by himself at See also:

Hampton Court is a very beautiful work, glowing with See also:

LIGHT

light and colour, which may possibly be a genuine picture of about 15o6. It represents a pleasant-looking youth with turned-up See also:

NOSE (O.Eng. nosu, cf. Dutch neus, Swed. nos, snout; the Aix in Provence. Both at Aix and at Lyons he acquired great connexion with O.Eng. nasu is obscure, cf. Ger. Nase, Lat. pares, distinction by his labours during outbreaks of the plague. In nostrils,

nose, not bearing the remotest resemblance to Raphael, except the long hair and black cap See also:

COMMON

common to nearly all the portraits of this time.' A fine but much-restored portrait of Raphael by himself, painted at Florence, exists in the Uffizi; it represents him at a very early age, and was probably painted during the early part of his stay in Florence. Third or Roman Period, r5o8-1520.-In 1508 Raphael was painting several important pictures in Florence; in See also:

SEPTEMBER (Lat. septem, seven)

September of that year we find him settled in Rome, from a letter addressed in the warmest terms of affectionate admiration to See also:

Francia, to whom he sent a sketch for his "See also:

ADORATION (Lat. ad, to, and os, mouth; i.e. " carrying to one's mouth ")

Adoration of the Shepherds," and promised to send his own portrait in return for that which Francia had given him.' Raphael was invited to Rome by his See also:

FELLOW

fellow-See also:

CITIZEN (a form corrupted in Eng., apparently by analogy with " denizen," from O. Fr. citeain, mod. Fr. citoyen)

citizen (not relation, as Vasari says) See also:

BRAMANTE, or BRAMANTE

Bramante, who was then occupied in the erection of the new church of St See also:

Peter, the See also:

FOUNDATION (Lat. fundatio, from fundare, to found)

foundation-See also:

stone of which had been laid by See also:

JULIUS

Julius II. on the 18th of April 1506. At this time the love of the popes for art had already attracted to Rome a number of the chief artists of Tuscany, Umbria and See also:

North Italy, among whom were Michelangelo, Signorelli, Perugino, Pinturicchio, Lorenzo See also:

Lotto, See also:

PERUZZI, BALDASSARE (1481-1536)

Peruzzi, See also:

SODOMA, IL (1477-1549)

Sodoma, and many others, and it was among this brilliant See also:

ASSEMBLY, UNLAWFUL

assembly that Raphael, almost at once, took a leading positions Thanks to Bramante's friendly intervention, Julius II. (Della Rovere) soon became Raphael's most zealous See also:

PATRON

patron and friend, as did also the rich bankers See also:

Agostino Chigi (the See also:

ROTHSCHILD

Rothschild of his time) and Bindo Altoviti, whose portrait, at the age of twenty, now at Munich, is one of the most beautiful that Raphael ever produced. A series of rooms in the Vatican, over the Appartamenti See also:

Borgia, were already decorated with frescoes by See also:

BONFIGLI, BENEDETTO

Bonfigli, A. See also:

STANZA (Low Lat. stantia, Ital. stantia or stanza)

Stanza della Segnatura (1509—11); 1, Disputa; 2, School of Athens; 3, Justinian giving his See also:

CODE (Lat. codex)

code to Trebonian; 4, See also:

Gregory IX. giving See also:

DECRETALS (Epistolae decretales)

decretals to a jurist; 5 (over the window), Three Virtues; 6 (over the other window), Apollo and a group of poets on See also:

MOUNT, WILLIAM SIDNEY (1807-1868)

Mount See also:

PARNASSUS (mod. Likkoura or Likeri)

Parnassus; vault with medallions of See also:

POETRY

Poetry, See also:

THEOLOGY

Theology, Science, and See also:

JUSTICE (Lat. justitia)

Justice, and other paintings. B.

Stanza d'Eliodoro (1511—14) : 7, See also:

EXPULSION (Lat. expulsio, from expellere)

Expulsion of See also:

HELIODORUS

Heliodorus from the Temple; 8, See also:

Mass of See also:

BOLSENA (anc. Volsinii)

Bolsena; 9, St Peter freed from See also:

PRISON (derived through the Fr. from the Lat. prehensio, seizure)

prison; to, See also:

ATTILA (d. 453)

Attila repulsed by See also:

Leo I.; vault with scenes from Old Testament, by pupils. C. Stanza dell' Incendio (1517), nearly all painted by pupils: Burning of the Borgo; 12, Victory of Leo IV. over the See also:

SARACENS

Saracens at See also:

OSTIA

Ostia; 13, Coronation of See also:

Charlemagne by Leo III. in St Peter's; 14, See also:

OATH (0. Eng. ddh)

Oath of Leo III. before Charlemagne. D. Sala di Costantino, painted by pupils (1520—24): 15 and 16, oil-paintings of Comitas and Justitia attributed to Raphael; 17, 17, great fresco of the Defeat of See also:

MAXENTIUS, MARCUS AURELIUS VALERIUS

Maxentius. E E. Part of Raphael's loggia, by his pupils. F. Chapel of See also:

Nicholas V., painted by Fra See also:

ANGELICO, FRA (1387–1455)

Angelico. G. Cortile of Bramante. Perugino, See also:

PIERO (1443—1496)

Piero della Francesca, See also:

ANDREA, GIOVANNI (1275-1348)

Andrea del See also:

CASTAGNO, ANDREA DEL (1390-1457)

Castagno, Signorelli and Sodoma; but so rapidly had the See also:

TASTE (from Lat. taxare, to touch sharply; tangere, to touch)

taste of the time changed that Julius II. decided to sweep them all away and re-See also:

COVER (from the Fr. convert, from couvrir, to cover, Lat. cooperire)

cover the ' To See also:

JUDGE (Lat. judex, Fr. juge)

judge of the authorship of a portrait from See also:

INTERNAL

internal See also:

EVIDENCE (Lat. evidentia, evideri, to appear clearly)

evidence is especially difficult, as in so many cases the strong individuality of the See also:

PERSON, OFFENCES AGAINST THE

person represented obscures that of the painter.

' See also:

MALVASIA (Gr. Monemvasia, i.e. the " city of the single approach or entrance "; Ital. Napoli di Malvasia; Turk. Mengeshe or Beneshe)

Malvasia, Felsina pittrice (See also:

Bologna, 1678), was the first to publish this letter; see also Miintz, Raphael, sa vie, Is'c., p. 315 (Paris, 1881). Minghetti (Nuova Antologia, 1883) throws doubt on the date of this letter. c Muntz, " See also:

Michel-Ange et Raphael a la cour de Rome," Gaz. des B. Arts, See also:

March and April 1882, and Les arts a la cour des pages, vol. iii. (Paris, 1884) walls with paintings in the more See also:

DEVELOPED

developed but less truly decorative style of Raphael. It was not without regret that Raphael saw the destruction of this noble series of frescoes. One vault, that of the Stanza dell' Incendio, painted by his master Perugino, he saved from obliteration; it still exists, well preserved, a most skilful piece of decorative work; and he also set his pupils to copy a number of portrait-heads in the frescoes of Piero della Francesca before they were destroyed.' Fig. 3 shows the positions of Raphael's frescoes in the stanze, which, both from their size and method of See also:

LIGHTING

lighting, are very unsuited for the reception of these large pictures. The two most important rooms (A and B) are small, and have an awkward cross-light from opposite windows.?- Stanza della Segnatura (papal signature See also:

ROOM

room), painted in 1509—11 (A on fig. 3). The first painting executed by Raphael in the stanze was the so-called Dispute, finished in 1509.

It is very unlike the later ones in style, showing the beginning of transition from his Florentine to his ' Roman manner "; as a decorative work it is very superior to the other frescoes; the figures are much smaller in scale, as was suited to the very moderate size of the room, and the whole is arranged mainly on one See also:

PLANE

plane, without those strong effects of perspective which are so unsuited to the decorative treatment of a See also:

wall-See also:

SURFACE

surface. In its religious sentiment, too, it far excels any of the later stanze paintings, retaining much of the sacred character of earlier Florentine and Umbrian art. As a scheme of decoration it appears to have been suggested by some of the early apsidal mosaics. Fig. 4 shows the disposition of its main masses, which seem to indicate the curved See also:

RECESS (Lat. recessus, a going back, withdrawal, from recedere, to withdraw)

recess of an See also:

apse. See also:

Gold is largely used, with much richness of effect, while the later purely pictorial frescoes have little or none. The subject of this magnificent painting is the See also:

HIERARCHY (Gr. iepos, holy, and apxe.v, to rule)

hierarchy of the church on See also:

earth and its See also:

GLORY (through the O. Fr. glorie, modern gloire, from Lat. gloria, cognate with Gr. KXebs, abets)

glory in See also:

HEAVEN (0. Eng. hefen, heofon, heofone; this word appears in O.S. hevan; the High. Ger. word appears in Ger. Himmel, Dutch hemel; there does not seem to be any connexion between the two words, and the ultimate derivation of the word is unknown; the sugges

heaven.' f he angels in the upper tier and the nude cherubs who carry the books of the. Gospels are among the most beautiful figures that Raphael ever painted. The painting on the vault of this room is the next in date, and shows further transition towards the " Roman manner." In his treatment of the whole Raphael has, with much See also:

ADVANTAGE

advantage, been partly guided by the painting of Perugino's vault in the next room (C). Though not without faults, it is a very skilfui piece of decoration; the pictures are kept subordinate to the lines of the vault, and their small scale adds greatly to the apparent size of the whole. A great part of the ground is gilt, marked with See also:

MOSAIC (corresponding to Lat. opus musivum, from Gr. µovoeiov, an artificial grotto often decorated with mosaics; the word is only found in the sense of mosaic in late Greek, which generally uses k oXI yrlµa)

mosaic-like squares, a common practice with decorative painters—not intended to deceive the See also:

eye, but simply to give a softer texture to the gilt surface by breaking up its otherwise monotonous glare. The principal medallions in each See also:

CELL (from Lat. cella, probably from an Indo-European kal —seen in Lat. celare, to hide; another suggestion connects the word with Lat. cera, wax, taking the original meaning to refer to the honeycomb)

cell of this quadripartite vault are very graceful See also:

FEMALE

female figures, representing Theology, Science, Justice, and Poetry.

Smaller subjects, some almost miniature-like in scale, are arranged in the intermediate spaces, and each has some special meaning in reference to the medallion it adjoins; some of these are painted in warm monochrome to suggest bas-reliefs. The fine painting of the" Flaying of Marsyas " is interesting as showing Raphael's study of antique See also:

sculpture: the figure of Marsyas is a copy of a Roman statue, of which several replicas exist. The very beautiful little picture of the " Temptation of Eve " recalls Albert See also:

DURER, ALBRECHT (1471-1528)

Durer's treatment of that subject, though only vaguely. Much mutual admiration existed between Raphael and Durer: in 1515 Raphael sent the German artist a most masterly life study of two nude male figures (now at Vienna) ; on it is written in Albert Durer's beautiful hand the date and a record of its being a See also:

GIFT (a common Teutonic word, cf. Ger. die Gift, gift, das Gift, poison, formed from the Teut. stem gab-, to give, cf. Dutch geven, Ger. geben; in O. Eng. the word appears with initial y, the guttural of later English is due to Scandinavian influence)

gift from Raphael. It is executed in red See also:

CHALK

chalk, and was a study for two figures in the " Battle of Ostia " (see below). On the wall opposite the Disputa is the so-called School of Athens.' ' How fine these portrait-heads probably were may be guessed from Piero's magnificent frescoes at See also:

AREZZO (anc. Arretium)

Arezzo, in the retro-See also:

CHOIR (0. Fr. cuer from Lat. chorus; pronounced quire, and until the end of the 17th century so spelt, the spelling being altered to agree with the Fr. chceur)

choir of S. Francesco. s See See also:

BRUNN (Czech Brno)

Brunn, See also:

Die Composition der Wandgemalde Raphaeis See also:

IM(K2+a2+h2—2 ah cos 0)

im Vatican (Berlin), and Gruyer, Les fresques de Raphael au Vatican (Paris, 1859). a It need hardly be said that the name Disputa is a misnomer; there could be no dispute among the saints and doctors of the church about so well-established a See also:

DOGMA (Gr. Sbypa, from b6aeiv, to seem; literally " that which seems, sc. good or true or useful " to any one)

dogma as the real presence: the See also:

MONSTRANCE (through the French from Lat. monstrare, to show)

monstrance with the See also:

HOST

Host below and the figure of Christ above indicate His See also:

double presence both on earth and in heaven. Dr Braun, See also:

Springer, and See also:

Hagen have published monographs in German on this painting. ' See See also:

TRENDELENBURG, FRIEDRICH ADOLF (1802-1872)

Trendelenburg, Ober Rafael's Schule von Athen (Berlin, 1843), and Richter (same See also:

TITLE (0. Fr. title, mod. titre, from Lat. titulus)

title) (See also:

HEIDELBERG

Heidelberg, 188a); the title " School of Athens " is comparatively See also:

MODERN

modern. In this and the succeeding frescoes all notion of decorative treatment is thrown aside, and Raphael has simply painted a magnificent series of paintings, treated as easel pictures might have been, with but little reference to their architectural surroundings.' The subject of this noble fresco, in contrast to that opposite, is " Earthly Knowledge," represented by an assembly of the great philosophers, poets and men of science of See also:

ancient See also:

GREECE

Greece.

The central figures are See also:

PLATO

Plato and See also:

Aristotle, while below and on each side are groups arranged with the most consummate skill, including the whole filosofica famiglia " of Dante (Infer. iv. 133–144), and a number of other leaders of thought, selected in a way that shows no slight acquaintance with the history of See also:

PHILOSOPHY (Gr. gthos, fond of, and vo4 (a, wisdom)

philosophy and science among the ancient Greeks. Many interesting portraits are introduced—Bramante as the aged See also:

Archimedes, stooping over a geometrical See also:

DIAGRAM

diagram; a beautiful See also:

FAIR

fair-haired youth on the left is Francesco Maria della Rovere, duke of Urbino; and on the extreme right figures of Raphael himself and Sodoma are introduced (see fig. 5, below). The stately See also:

BUILDING

building in which these groups are arranged is taken with modifications from Bramante's first See also:

DESIGN (Fr. desiin, drawing; Lat. designare, to mark out)

design for St Peter's. Over the window (No. 6 on fig. 3) is a group of poets and musicians on Mount Parnassus, round a central figure of Apollo; it contains many heads of great beauty and fine portraits of Dante and See also:

PETRARCH (1304-1374)

Petrarch. The former, as a theologian, appears also in the Disputa. Over the opposite window (No. 5) are graceful figures of the three chief Virtues, and at one side (No. 4) Gregory IX.

(a portrait of Julius II.) presenting his See also:

VOLUME

volume of decretals to a jurist; beside him is a splendid portrait of See also:

CARDINAL (Lat. cardinalis)

Cardinal de' See also:

Medici (afterwards Leo X.) before his See also:

FACE (from Lat. fades, derived either from facere, to make, or from a root fa-, meaning " appear "; cf. Gr. cbatvstv)

face was spoiled by getting too stout. This painting shows the influence of Melozzo da Forli.6 On the other side Justinian presents his code to Trebonianus (No. 3) ; this is inferior in execution, and appears to have been chiefly painted by pupils. The next room (B), called La Stanza d'Eliodoro, was painted in 1511–14;7 it is so called from the fresco (No. 7 in fig. 3) representing the expulsion of Heliodorus from the Temple (2 See also:

MACE (Fr. masse, O. Fr. mace, connected with Lat.'ntateola, a mallet)

Mace. iii.),an allusion to the struggles between See also:

Louis XII. of See also:

France and Julius II. The whole spirit of the subjects in this room is less broad and tolerant than in the first : no See also:

pagan ideas are admitted, and its chief motive is the glorification of the pontificate, with insistence on the temporal power. The main incident of this picture is the least successful part of it: the angel visitant on the See also:

HORSE (a word common to Teutonic languages in such forms as hors, hros, ros; cf. the Ger. ross)

horse is wanting in dignity, and the See also:

animal is poorly drawn, as is also the See also:

case with the horses of Attila's See also:

army in the fresco opposite. The group of See also:

WOMEN

women and See also:

CHILDREN, LAW RELATING TO

children on the left is, however, very beautiful, and the figures of Julius II. and his attendants are most nobly designed and painted with great vigour. The tall standing figure of Marc Antonio Raimondi, as one of the See also:

pope's bearers, is a marvellous piece of portrait-painting, as is also the next figure who bears his name on a See also:

SCROLL

scroll—Io . PETRO . DE .

FOLIARIIS . CREMON1N. Behind, Giulio Romano is represented as another papal attendant. This picture was completed in 1512. Over the window (No. 8) is the See also:

SCENE (Fr. scene, Lat. scaena, Gr. oflvil, a tent or booth, a stage or scene)

scene of the See also:

MIRACLE (Lat. miraculum, from mirari, to wonder)

Miracle at Bolsena of 1264, when the real presence was proved to a doubting priest by the See also:

APPEARANCE (from Lat. apparere, to appear)

appearance of See also:

BLOOD

blood-stains on the See also:

CORPORAL

Corporal (see See also:

ORVIETO (anc. Volsinii (q.v.)

ORVIETO). Julius II. is introduced kneeling behind the altar; and the lower spaces on each side of the windows are filled with two groups, that on the left with women, that on the right with See also:

OFFICERS

officers of the papal guard. The last group is one of the most masterly of all throughout the stanze: each face, a careful portrait, is a marvel of expression and power, and the technical skill with which the whole is painted to the utmost degree of finish, almost without any See also:

TEMPERA (the Italian term), or DISTEMPER

tempera touches, is most wonderful. The next fresco in date (No. 10) is that of the Repulsion of Attila from the walls of Rome by Leo I., miraculously aided by the See also:

APPARITIONS

apparitions of St Peter and St Paul; it contains another allusion to the papal quarrels with France. It was begun in the lifetime of Julius II., but was only half-finished at the time of his death in 1513; thus it happens that the portrait of his successor, the Medici pope Leo X., appears twice over, first as a cardinal See also:

RIDING

riding behind the pope, painted before the death of Julius II., and again in the character of S. Leo, instead of the portrait of Julius which Raphael was about to paints Attila with his See also:

savage-looking ' He has shown great skill in the way in which he has fitted his end frescoes into the awkward spaces cut into by the windows, but they are none the less treated in a purely pictorial manner.

6 Compare his fresco of See also:

SIXTUS

Sixtus IV., now in the picture-gallery of the Vatican. ' The vault of this room is painted with scenes from the Old Testament on a harsh See also:

BLUE (common in different forms to most European languages)

blue ground, much restored; they are probably the work of Giulio Romano, and in a decorative way are very unsuccessful—a striking contrast to the beautiful vaults of Perugino and Raphael in rooms C and A. The deep blue grounds so much used by Raphael's school are very liable to injury from See also:

DAMP

damp, and in most cases have been coarsely restored. Those in the See also:

VILLA

Villa Madama are untouched, and in parts the damp has changed the See also:

ULTRAMARINE

ultramarine into See also:

EMERALD

emerald green. s A See also:

PEN (Lat. penna, a feather, pen)

pen sketch in the Louvre by Raphael shows Julius II. in the See also:

PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place afterwards occupied by Leo X.: another difference in this sketch is that the pope is See also:

BORNE, KARL LUDWIG (1786–1837)

borne in a See also:

CHAIR (in. Mid. Eng. chcere, through O. Fr. chaire or chaiere, from Lat. cathedra, later caledra, Gr. xaOi3pa, seat, cf. "cathedral"; the modern Fr. form chaise, a chair, has been adopted in English with a particular meaning as a form of carriage; chaire

chair, not on horseback as in the fresco. army is not the most successful part of the fresco: the horses are very wooden in appearance, and the tight-fitting scale See also:

ARMOUR, PHILIP DANFORTH (1832-1901)

armour, put on in some impossible way without any See also:

JOINTS

joints, gives a very unreal and theatrical look to the picture. Part is the work of pupils. In 1514 he painted the " Deliverance of St Peter from Prison," with a further See also:

POLITICAL

political allusion (No. 9). It is very skilfully arranged to See also:

fit in the awkward space round the window, and is remarkable for an See also:

ATTEMPT (Lat. adtemptare, attentare, to try)

attempt, not much suited for fresco-painting, to combine and contrast the three different qualities of light coming from the See also:

moon, the glory round the angel, and the torches of the sentinels. For room C Raphael designed and partly painted the " Incendio del Borgo " (No. 11), a See also:

FIRE (in O. Eng. f j'r; the word is common to West German languages, cf. Dutch vuur, Ger. Feuer; the pre-Teutonic form is seen in Sanskrit pu, pavaka, and Gr. irup; the ultimate origin is usually taken to be a root meaning to purify, cf. Lat. purus)

fire in the Borgo or Leonine City, which was miraculously stopped by Leo IV. appearing and making the sign of the cross at a window in the Vatican.

On the background is shown the See also:

FACADE

facade of the old See also:

BASILICA

basilica of St Peter, not yet destroyed when this fresco was painted. One group on the left, in the fore-ground, is remarkable for its vigour and powerful drawing; the motive is taken from the burning of See also:

Troy; a fine nude figure of 1Fneas issues from the burning houses bearing on l:is back the old See also:

ANCHISES

Anchises and leading the boy See also:

ASCANIUS

Ascanius by the hand. Some of the female figures are designed with much grace and dramatic power. Many studies for this picture exist. This is the last of the stanze frescoes on which Raphael himself worked. Others designed by him and painted by Giulio Romano, Gianfrancesco Penni, and other pupils were the " Battle of Ostia " (No. 12), a very nobly composed picture, and the " Oath of Leo III. before Charlemagne " (No. 14). The other great picture in this room (No. 13), the " Coronation of Charlemagne " (a portrait of See also:

Francis I. of France), is so very inferior in composition that it is difficult to believe that Raphael even made a sketch for it. The enormous fresco of the " Defeat of Maxentius by See also:

CONSTANTINE

Constantine " (room D, No. 17) was painted by Giulio Romano, soon after Raphael's death, from a sketch by the latter; it is even more harsh and disagreeable in colour than most of Giulio Romano's early frescoes.' Among the other very inferior frescoes in this great See also:

hall are two female figures (Nos.

15 and 16) representing Comitas and Justitia, painted on the wall in oil See also:

COLOURS, MILITARY

colours, very harmonious and rich in tone; they are usually, though wrongly, attributed to Raphael himself. Technical Methods employed in Raphael's Frescoes.—Having made many studies, both nude and draped, for single figures and groups, the painter made a small drawing of the whole composition, which was enlarged by his pupils with the help of numbered squares, drawn all over it, to the full size required,' on See also:

paper or See also:

CANVAS

canvas. Holes were then pricked along the outlines of the cartoon, and the design pounced through on to an undercoat of dry See also:

STUCCO (Ital. stucco, adapted from O.H.G. stucchi, crust, piece, patch, Ger. Stuck, piece, allied to stock)

stucco on the wall, with pounded See also:

CHARCOAL

charcoal and a stiff See also:

brush. Over this, early in the See also:

MORNING

morning, a patch of wet stucco was laid, about enough to serve for the See also:

day's painting; this of course obliterated the out-line on the wall, and the part covered by the patch was again sketched in by freehand, with a point on the wet stucco, so as to be a See also:

GUIDE (in Mid. Eng. gyde, from the Fr. guide; the earlier French form was guie, English " guy," the d was due to the Italian form guida; the ultimate origin is probably Teutonic, the word being connected with the base seen in O. Eng. witan, to know)

guide for the outline traced with the brush and the subsequent painting. A line impressed on the wet stucco was easily smoothed out, but a touch of the brush full of pigment sank deeply into the moist stucco, and could not easily be effaced. It will thus be seen that in fresco painting the only use of pouncing the whole design on to the wall was to keep the general positions of the figures right, and was no guide as to the drawing of each See also:

SEPARATE

separate part. Fig. 5 shows the portrait-heads of himself and Perugino (?), at the extreme right of the School of Athens; on this are visible many of the impressed sketch-lines, and also part of the " fresco edge " of the patch on which this part is painted. The heads in this figure are less than one day's work. It will be seen that there is no attempt at any accuracy of drawing in the impressed lines. Raphael, especially in his later frescoes, worked with wonderful rapidity: three life-sized busts, or half a full-length figure, more than life-size, was a not unusual day's work. In some of the frescoes the edges of each day's patch of stucco can easily be traced, especially in the Incendio del Borgo, which has a strong side light.

In the Disputa much use was made of tempera in the final touches, but less was used in the subsequent frescoes, owing to his increasing mastery of the difficulties of the See also:

PROCESS

process. The paintings in the stanze were only a small part of Raphael's work between 1509 and 1513. To this period belong the Madonna of See also:

FOLIGNO (anc. Fulginiae, q.v.)

Foligno (Vatican), painted in 1511 for Sigismondo See also:

Conti; it is one of his most beautiful compositions, full of the utmost grace and sweetness of expression, and appears to be wholly the work of his hand. It has suffered much from repainting. Of about the same date are the gem-like Garvagh Madonna (National Gallery, bought for f9000; once in the See also:

possession of the Aldobrandini family), the Diademed Virgin 1 See Montagnani, Sala di Costantino (Rome, 1834). Though he was never a good colourist, the great frescoes by Giulio Romano in the Palazzo del Te, See also:

MANTUA (Ital. Mantova)

Mantua, show some improvement as compared with his Roman work. 2 These three stages were usually distinguished as study, sketch and cartoon.905 of the Louvre, and the Madonna del Pesce at Madrid. The last is a very noble picture but the design is more pleasing than the colour, which, like other paintings of Raphael's at Madrid, suggests the inferior touch of a See also:

PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil; it was executed in 1513 for S. Domenico in See also:

Naples. In addition to other easel pictures a number of his finest portraits belong to this period —that of Julius II. (Uffizi),3 of which a good replica or See also:

con-temporary copy exists in the National Gallery, the so-called Fornarina in the Palazzo See also:

BARBERINI

Barberini, the Baldassare Castiglione of the Louvre, and the unfinished portrait of Federigo See also:

Gonzaga of Mantua. When Giovanni de' Medici, at the age of thirty-eight, became pope as Leo X., a period of the most glowing splendour and reckless magnificence succeeded the sterner See also:

RULE

rule of Julius II.

Agostino Chigi, the Sienese financier, was the chief of those whose lavish See also:

EXPENDITURE

expenditure contributed to enrich Rome with countless works of art. For him Raphael painted, in 1513-14, the very beautiful fresco of the See also:

TRIUMPH (triumphus)

Triumph of Galatea in his new palace by the See also:

TIBER (anc. Tiberis; Ital. Tevere)

Tiber See also:

BANK

bank, the Villa Farnesina, and also made a large series of magnificent designs from See also:

APULEIUS, LUCIUS

Apuleius's See also:

ROMANCE

romance of See also:

CUPID (Cupido, " desire ")

Cupid and See also:

PSYCHE (//vxi7)

Psyche, which were carried out by a number of his pupils? These cover the vault and lunettes of a large loggia (now closed in for See also:

PROTECTION

protection) ; in colouring they are mostly harsh and See also:

GAUDY

gaudy,5 as is usually the case with the works of his pupils, a great contrast to the fresco of the Galatea, the greater part of which is certainly the master's own works For the same patron he painted (also in 1513) his celebrated Sibyls 3 A very fine ancient copy of this portrait is in the Pitti Palace; certain peculiarities in its execution show it to be by some Venetian painter, as was pointed out to See also:

PROFESSOR (the Latin noun formed from the verb profiteri, to declare publicly, to acknowledge, profess)

Professor See also:

Middleton by Mr See also:

FAIRFAX, EDWARD (c. 1580-1635)

Fairfax See also:

Murray. 'Chiefly by Giulio Romano, Gianfrancesco Penni and Giovanni da See also:

UDINE

Udine; much injury has been done to these frescoes by re-painting, especially in the coarse blue of the ground. 5 These and other frescoes by his pupils are much disfigured by the disagreeable hot tone of the flesh, very unlike the pearly tone of the flesh of Galatea. s Dorigny, Psychis et Amoris fabula a Raphaele, f~c. (Rome, 1693) ; and See also:

GRUNER, GOTTLIEB SIGMUND (1717-1778)

Gruner, Fresco Decorations in Italy (London, 1854), pls. 16-18. The group of the See also:

TRITON

Triton and Nymph on the left of the composition was probably executed by Giulio Romano. in S. Maria della See also:

Pace, figures of exquisite grace, arranged It is not without reason that Vasari gives these the highest position among his fresco-paintings.' Agostino Chigi also employed Raphael to build for him a private chapel in S. Maria del Popolo, and to make a series of cartoons to be executed in mosaic on the inner See also:

DOME (Lat domus, house; Ital. duomo, cathedral)

dome.2 The central See also:

MEDAL (Fr. medaille, from Lat. metallum)

medal-See also:

lion has a figure of See also:

God among clouds and angel boys, F1c.

6.–Mosaic of God creating the stars, such as Raphael from the Chigi chapel, in centre of dome, See also:

drew with un- designed by Raphael. rivalled grace (fig. 6), and around are the eight See also:

PLANETS, MINOR

planets, each with its pagan deity and directing angel.' He has not hampered himself by any of the usual rules which should apply to the designing of mosaic; they are simply treated as pictures, with almost deceptive effects of perspective. The execution of these brilliant mosaics was carried out by the Venetian See also:

LUIGI

Luigi della Pace, whose signature is introduced on the See also:

TORCH (O. Fr. torche, from Med. Lat. tortia, derived from tortus, twisted, torquere, to twist)

torch of Cupid in the panel representing the See also:

STAR

star See also:

VENUS

Venus (Ludovico della Pace Veneziano fecit, 1516). These mosaics are still as perfect and brilliant as if they were the work of yesterday. Probably in the early years of Leo X.'s reign were painted the Madonna della Seggiola (Pitti), the S. See also:

CECILIA, SAINT

Cecilia at Bologna (not completed till 1516), the miniature See also:

VISION (from Lat. videre, to see), or SIGHT

Vision of See also:

EZEKIEL (SKpm', " God strengthens" or " God is strong "; Sept. 'IE'EKL?)X; Vulg. Ezechiel)

Ezekiel (Pitti) and three important pictures at Madrid. The latest of these, known as Lo Spasimo, from the church at See also:

PALERMO (Greek, Havopuos; Latin, Panhormus, Panormus)

Palermo, for which it was painted, is one of Raphael's finest compositions, representing Christ bearing His Cross. It bears signs of Giulio Romano's hand in its heavy colouring with unpleasant See also:

PURPLE

purple tones. The Madonna called Della Perla has much changed from the darkening of the See also:

PIGMENTS (Lat. pigmentum, from pingere, to paint)

pigments; in design it recalls Leonardo da Vinci.' The small Madonna della See also:

Rosa is the most perfect in colour of all the master's pictures in the Madrid Gallery, and is usually rather undervalued; it is a most graceful little picture. The portrait of Leo X. with Cardinals de' See also:

Rossi and de' Medici, in the Pitti, is one of his finest portrait-pictures, especially as regards the figure of the pope.' Little is known about the Madonna di S. Sisto, the glory of the See also:

DRESDEN

Dresden Gallery; no studies or sketches for it exist. In style it much resembles the Madonna di Foligno; it is less injured by restoration than the latter.

Among the latest works of Raphael are the large " St Michael and the See also:

DEVIL (Gr. &a,3oXos, " slanderer," from &ctflisXX sty, to slander)

Devil," in the Louvre, signed " Raphael Urbinas pingebat, Mnxvin.," and the very beautiful portrait of the See also:

VIOLIN

Violin-player, in the Sciarra-Colonna Palace in Rome, also dated 1518; this last bears much resemblance to the painter himself. The See also:

BRITISH

British Museum possesses one of Raphael's finest portraits, 1 Thanks to Michelangelo's generous intervention, Raphael was paid the large sum for that time of 900 gold ducats for this fresco. 2 Gruner, Mosaici in S. Maria del Popolo (Rome, 1839). ' In accordance with Dante's scheme in the See also:

PARADISE (Gr. lrap6BEwos)

Paradise. * La Perla, " the See also:

pearl " of the See also:

SPANISH

Spanish royal collection, was originally painted for See also:

Bishop Louis of See also:

CANOSSA

Canossa; it was sold by See also:

Cromwell with the greater part of See also:

Charles I.'s collection at Hampton Court. The composition, though not the execution, of this picture belongs to Raphael's early years in Rome; it is very remarkable for its delicacy of touch and high finish. ' The magnificent portrait-heads of the Venetian scholars Navagero and Beazzano, now in the See also:

DORIA, ANDREA (1466-156o)

Doria Gallery in Rome, are worthy of Raphael at his best, and have for long been attributed to him. There are good contemporary copies at Madrid.though only a chalk drawing, that of his friend the painter Timoteo della Vite, a masterpiece of expression and vigour; it is executed in black and red, and is but little inferior in See also:

CHROMATIC (Gr. xpcoµaruc6s, coloured, from xpwµa, colour)

chromatic effect to an oil-painting; it is life size, and is executed with wonderful skill and evident keen See also:

INTEREST

interest in the subject. The See also:

TAPESTRY

tapestry cartoons, seven of which are in the Victoria and Albert Museum, were painted by pupils from Raphael's designs. They are part of a set of ten, with scenes from the Acts of the Apostles, intended, when copied in tapestry, to adorn the lower part of the walls of the Sistine chapel. The tapestries themselves, worked at See also:

BRUSSELS (Fr. Bruxelles, Flem. Brussel)

Brussels, are now, after many vicissitudes, hung in a gallery in the Vatican; the set is complete, thus preserving the design of the three lost cartoons.

The existing seven, after being cut up into strips for use on the looms, were bought by See also:

RUBENS, PETER PAUL (1577-164o)

Rubens for Charles 1.6 The tapestry copies are executed with wonderful skill, in spite of Raphael's having treated the subjects in a purely pictorial way, with little regard to the exigencies of textile work. The designs are reversed, and the colours far more brilliant than those of the cartoons, much gold and See also:

SILVER

silver being introduced. The noble figure of Christ in the Delivery of the Keys to St Peter is in the tapestry much disfigured by the addition of a number of large gold stars all over the drapery, which spoil the See also:

SIMPLE

simple dignity of the folds. The rich framework round each picture, designed by Raphael's pupils, probably by Penni and Giovanni da Udine, exists in the tapestries and adds greatly to their decorative effect. The cartoons were executed in 1515 and 1516, and the finished tapestries were first exhibited in their place in the Sistine chapel on the 26th of See also:

DECEMBER (Lat. decent, ten)

December 1519—a very short time for the See also:

WEAVING

weaving of such large and elaborate pictures. The three of which the cartoons are lost represent the Martyrdom of St See also:

Stephen, the See also:

CONVERSION (Lat. conversio, from convertere, to turn or ,change)

Conversion of St Paul, and St Paul in Prison at See also:

PHILIPPI (Turk. Filibejik)

Philippi. Probably no pictures are better known to have been more often engraved and copied than these seven cartoons.? The Transfiguration.6—In 1519 Cardinal Giuliano de' Medici (afterwards See also:

Clement VII.), as bishop of See also:

NARBONNE

Narbonne, ordered two altar-pieces for his cathedral—the one by Raphael, the other by Raphael's Venetian See also:

RIVAL

rival Sebastiano del Piombo. That by the latter painter is the noble Resurrection of See also:

Lazarus, now in the National Gallery, in the drawing of which the Venetian received important aid from Michelangelo. Several studies for Raphael's picture exist, showing that he at first intended to paint a Resurrection of Christ as a See also:

PENDANT (through Fr. from Lat. pendere, to hang)

pendant to Sebastiano's subject, but soon altered his scheme into the Transfiguration. The eight or nine existing studies are scattered through the Oxford, Lille, See also:

Windsor and some private collections. A great part of the lower group was unfinished at the time of the painter's sudden death in 1520, and a good See also:

DEAL

deal of the heavy colouring of Giulio Romano is visible in it.

On the death of Raphael the picture became too See also:

PRECIOUS (O. Fr. precios, mod. precieux, Lat. pretiosus, of high value or price, pretium)

precious to send out of Rome, and Cardinal de' Medici contented himself with sending the Resurrection of Lazarus to Narbonne. The Transfiguration was bequeathed by him to the monks of S. Pietro in Montorio, in whose church it remained till it was stolen by See also:

NAPOLEON

Napoleon I. It now hangs in the Vatican Gallery. Architectural Work.9–Though he designed but few buildings, Raphael's great repute even in this See also:

BRANCH (from the Fr. branche, late Lat. branca, an animal's paw)

branch of art is shown by the 6 Fortunately they were not sold with the bulk of Charles's collection, and remained at Hampton Court till a few years ago. See See also:

Koch, Rafael's Tapeten im Vatican (Vienna, 1878), and Muntz, Hist. de la tapisserie italienne (Paris, 1880). The name " arazzi " given by Italians to these tapestries is derived from See also:

ARRAS

Arras, where they were erroneously thought to have been See also:

WOVEN

woven; they were made at Brussels. It is much to be regretted that visitors to the Vatican are no longer allowed to see these priceless examples of textile work. 8 See Morgenstern, Uber Rafael's Verklarung (Leipzig, 1822), and justi, Die Verklarung Christi (Leipzig, 1870). ' See Ojetti, Discorso su Raffaello Architetto (Rome, 1883), but more especially Geymuller's work mentioned in the See also:

TEXT (Lat. textum, woven fabric, from texere, to weave)

text, and his Projets primitifs pour la Bas. de S. See also:

PIERRE

Pierre (Paris, 1875–80); also the works of See also:

Hofmann and See also:

BLOCH, MARK ELIEZER (c. 1723–1799)

Bloch (Dresden, 1900). with perfect skill in an awkward space.

LV DP V F 1516 . fact that Bramante, before his death in March 1514, specially requested that Raphael should be made his successor as chief architect of St Peter's. To this most important See also:

POST

post he was appointed by a brief of Leo X., dated the 1st of August 1514. The progress of St Peter's was, however, too slow for him to leave much See also:

mark on its design. Another work of Bramante's completed, by Raphael, was the graceful Cortile di S. Damaso in the Vatican, including the loggie, which were decorated with stucco-reliefs and paintings of sacred subjects by his pupils under his own supervision, but only very partially from his designs.' The Palazzo dell' See also:

Aquila, built for Giovanni Battista Branconio, and destroyed in the 17th century during the See also:

EXTENSION (Lat. ex, out ; tendere, to stretch)

extension of St Peter's, was one of Raphael's chief works as an architect. He also designed the little cross church, domed at the intersection like a miniature St Peter's, called S. Eligio degli Orefici, which still exists near the Tiber, almost opposite the Farnesina gardens, a work of but little merit. According to M. Geymuller, whose valuable work, Raffaello come Architetto (Milan, 1883), has done so much to increase our knowledge of this subject, the Villa Farnesina of Agostino Chigi, usually attributed to Peruzzi, was, as well as its palace-like stables, designed by Raphael; but internal evidence makes this very difficult to believe. It has too much of the delicate and refined character of the 15th century for Raphael, whose taste seems to have been strongly inclined to the more developed classic style, of which See also:

PALLADIO, ANDREA (1518-1580)

Palladio afterwards became the chief exponent. The Palazzo Vidoni, near S.

Andrea della See also:

VALLE, PIETRO DELLA (1586–1652)

Valle, also in Rome, is usually attributed to Raphael, but an See also:

ORIGINAL

original sketch for this in Peruzzi's own hand has recently been identified among the collection of drawings at Siena; this, however, is not a certain See also:

PROOF (in M. Eng. preove, proeve, preve, &°c., from O. Fr . prueve, proeve, &c., mod. preuve, Late. Lat. proba, probate, to prove, to test the goodness of anything, probus, good)

proof that the design was not Raphael's. M. Geymuller has, however, shown that the Villa Madama, on the slopes of Monte See also:

MARIO, GIUSEPPE, COUNT OF CANDIA (1810-1883)

Mario above Rome, was really designed by him, though its actual carrying out, and the unrivalled stucco-reliefs which make its interior one of the most magnificent palaces in the world, are due to Giulio Romano and Giovanni da Udine, as mentioned in Vasari's life of the latter.' The original design for this villa made by Raphael himself has been discovered by M. Geymuller. Another architectural work was the little Chigi chapel in S. Maria del Popolo, built in 1516, for the dome of which the above-mentioned mosaics were designed (see fig. 6). At the time of his death he was preparing to build himself a handsome palace near the church of S. Eligio; the See also:

DEED (in O. Eng. dead, from the stem of the verb " to do ")

deed for the See also:

PURCHASE

purchase of its site was signed by him only a few days before his last short illness. Though not completed till 1530, the Palazzo Pandolfini at Florence was also designed by him; it is a dull scholastic building without any special beauty either in proportion or treatment of the mass; it is illustrated by Montigny and Famin, See also:

ARCHITECTURE (Lat. architectura, from the Gr. ap)(LTEKrwv, a master-builder)

Architecture Toscane (Paris, 1815), pls. 33-36. A sober See also:

criticism of Raphael's architectural works must force one to refuse him a high position in this branch of art.

In the church of S. Eligio and the Chigi chapel he is merely a copyist of Bramante, and his more original works show but little power of invention or even mastery of .the first principles of architectural design. His details are, however, often delicate and refined (especially in the Palazzo Pandolfini), and he was supremely successful in the decorative treatment of richly ornamented interiors when he did not, as in some of the Vatican stanze, See also:

SACRIFICE (from Lat. sacrificium; sacer, holy, and facere, to make)

sacrifice the room to the frescoes on its walls. Sculpture.—That Vasari is right in attributing to him the See also:

MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model for the beautiful statue of See also:

Jonah in the Chigi chapel (fig. 7) is borne See also:

witness to by two important documents, which show that his almost universal talents led him to attempt with success the preliminary part of the sculptor's art, though there is no evidence to show that he ever worked on marble.' One of these is a letter written to Michelangelo to warn him that Raphael had been invading his See also:

province as a sculptor by modelling a boy, which had been executed in marble by a pupil, and was a work of much beauty. Again, after his death his friend Baldassare Castiglione, in a letter ' See Mariani, La Bibbia nelle Loggie del Vaticano (Rome) ; Anon., Dipinti nelle Loggie del Vaticano (Rome, 1841); and Gruner, Fresco Decorations (London, 1854), pls. 1-5. Too great a share in the decoration of the loggie is usually given to Raphael; not only the harsh colour but also the feebleness of much of the drawing shows that he can have had but little to do with it. ' See Gruner, Fresco Decorations, &c. (London, 1854), pls. 6-12, and Raffaelle Santi, Ornati della Villa Madama, &c. (Rome, 1875).

Two other little known but very beautiful architectural works, executed under Raphael's influence by his pupils, are the bathroom of Cardinal Bibbiena in the Vatican and the bathroom of Clement VII. in the See also:

castle of S. Angelo, both richly decorated with delicate stucco-reliefs and paintings, treated after a classical model. ' See See also:

note on p. 369, vol. iv., of Milanesi's edition of Vasari (Florence, 1879). To one branch of the sculptor's art, practised under Raphael's supervision, belong the elaborate and delicately executed stucco-reliefs of the loggie and elsewhere. Among these occur many panels with figure-subjects, large in scale and important in composition; those executed during his lifetime are See also:

FREE

free from the too pictorial character which is an obvious See also:

FAULT (Mid. Eng. faute, through the French, from the popular Latin use of fallere, to fail; the originallof the Latin being replaced in English in the 15th century)

fault in the very magnificent reliefs of the Villa Madama.907 dated the 8th of May 1523, asks his steward in Rome " if Giulio Romano still possesses a certain boy in marble by Raphael and what his lowest price for it would be,"—" s'egli [Giulio Romano] ha pia luel puttino di marmo i mano di Raffaello e per quanto si daria all' ultimo." A group in marble of a Dead Boy on his See also:

DOLPHIN

Dolphin Playfellow, now in the St See also:

PETERSBURG

Petersburg Hermitage, has been erroneously supposed to be Raphael's " puttino," which has also been identified with a statuette of a child formerly at Florence in the possession of Signor Molini.' The statue of Jonah was executed in marble by Lorenzetto, a Florentine sculptor; and it remained in his studio for many years after Raphael's death. The Victoria and Albert Museum possesses a small See also:

clay sketch for this beautiful group, slightly different from the marble; it is probably the original design by the master's own hand. The whole feeling of the group—a beautiful youth seated on a See also:

sea-See also:

monster—is Fic. 7.-Statue of Jonah in the Chigi purely classical, and the chapel, designed by Raphael, sculptured motive is probably taken by Lorenzetto; heroic size. from some antique statue representing See also:

ARION

Arion or Taras on a dolphin.' Being intended for a church it was necessary to give the figure a sacred name, and hence the very incongruous title that it received. There is no trace of Raphael's hand in the design of the other statue, an See also:

ELIJAH (a Hebrew name meaning " Yah[weh] is God ")

Elijah by Lorenzetto, though it also is ascribed to him by Vasari. Lesser Arts practised by Raphael.—Like other great artists, Raphael did not disdain to practise the lesser branches of art: a design for a silver perfume-burner with female caryatids is preserved in an See also:

ENGRAVING

engraving by Marco da See also:

Ravenna; and he also designed two handsome repousse salvers for Agostino Chigi, drawings for which are now at Dresden.

In designs for tarsia-work and See also:

wood-See also:

CARVING

carving he was especially skilful; witness the magnificent doors and shutters of the stanze executed by his pupil Giovanni Barile of Siena.' The See also:

MAJOLICA

majolica designs attributed to him were by a name-See also:

SAKE

sake and relation called Raffaello di Ciarla;7 and, though many fine dishes and ewers of Urbino and other majolica are decorated with Raphael's designs, they are all taken from pictures or engravings, not specially done by him for ceramic purposes. With the frivolity of his age Leo X. occasionally wasted Raphael's skill on unworthy subjects, such as the scenery of a temporary See also:

THEATRE (BEarpov, " a place for seeing," from OeacOae)

theatre; and in 1516 the pope set him to paint in fresco the portrait life-size of a large See also:

ELEPHANT

elephant, the gift of the See also:

king of See also:

PORTUGAL

Portugal, after the animal was dead.' This elephant is also introduced among the stucco reliefs of the Vatican loggie, with the poetaster Barrabal sitting in See also:

MOCK

mock triumph on its back. Though Raphael himself does not appear to have practised the art of engraving, yet this formed one of the many branches of art which were carried on under his supervision. A large number of his designs were engraved by his pupils See also:

MARCANTONIO [MARCANTONIO RAIMONDI]

Marcantonio Raimondi and Agostino Veneziano. These valuable engravings are from Raphael's sketches, not from his finished pictures, and in some cases they show ' See Appendix, p. 406, vol. iv., of Milanesi's edition of Vasari; Rembadi, Del putto . . . di Raffaello (Florence, 1872); Gennarelli, Sopra una Scultura di Raffaello (Florence, 1873). The evidence which would attribute this piece of sculpture to Raphael is almost worthless. See on the St Petersburg group, Guedeonoff, Uber die dem Raphael zugeschr. Marmorgruppe (St Petersburg, 1872). 'Compare this latter subject on reverses of the beautiful di-drachms of See also:

Tarentum, c. 300 B.C.

' The very beautiful and elaborate choir-stalls of the church of S. Pietro de' Casinensi at Perugia, with panels carved in relief, executed in 1535 by Stefano da See also:

Bergamo, are mainly adapted from Raphael's designs. 7 Campori, Notizie Stor. d. Maiolica di See also:

FERRARA

Ferrara (3rd ed., See also:

PESARO (anc. Pisaurum, q.v.)

Pesaro, 1879), PP. 132-133. ' Under it was inscribed—" Raphael Urbinas quod natura abstulerat arte restituit." important alterations made in the execution of the picture. I palace, designed by Bramante, was destroyed in the 17th century Raimondi's engraving of the S. Cecilia of Bologna in design is very at the same time as Raphael's Palazzo dell' Aquila. inferior to that of the actual painting. Several of Raphael's most I It is difficult to realize the grief and enthusiasm excited by important compositions are known to us only by these early engravings, e.g. the See also:

MASSACRE

Massacre of the Innocents (engraved by the master's death on Good See also:

FRIDAY (A.S. frige-dreg, fr. frige, gen. of frigu, love, or the goddess of love—the Norse Frigg,—the dreg, day; cf. Icelandic frjddagr, O.H. Ger. friatag, frigatag, mod. Ger. Freitag)

Friday (April 6th) 1520. at the age Raimondi), which is one of his finest works, both for skilful See also:

coin- of thirty-seven exactly, after an attack of See also:

FEVER (Lat. febris, connected with fervere, to burn)

fever which lasted position and for masterly drawing of the nude. Another magnifi- only ten days. His See also:

BODY

body was laid out in See also:

state in his studio, cent design is the See also:

JUDGMENT

judgment of Paris, containing a large number of b the side of the unfinished Transfiguration, and all Rome figures; the nude figure of See also:

MINERVA

Minerva is a work of especial force by and beauty.

A standing figure of See also:

LUCRETIA

Lucretia' about to stab herself flocked to the place for a last sight of the " divino pittore." His is also one of his most lovely figures. Many of Raphael's studies for property amounted to about £30,000; his drawings and See also:

MSS. Marcantonio's engravings still exist. he left to Giulio Romano and Gianfrancesco Penni; his newly See also:

ARCHAEOLOGY (from Gr. &pxa1a, ancient things, and Xoyos, theory or science)

Archaeology.—As an See also:

ANTIQUARY

antiquary Raphael deserves to take the highest rank. His See also:

REPORT (O.Fr. report or raport, modern rapport, from O.Fr. reporter, mod. rap porter, Lat. reportare, to bring back, in poetical use only, of bringing back an account, news, &c.)

report 2 to Leo X. in 1518 is an eloquent plea bought See also:

LAND

land to Cardinal Bibbiena, the uncle of the lady to whom for the preservation of ancient buildings. In 1515 he had been he had been betrothed; there were liberal bequests to his appointed by Leo X. inspector of all excavations in Rome and servants; and the See also:

REST (O. Eng. rest, reste, bed, cognate with other Teutonic forms, e.g. Ger. Rast, Riiste, rest, and probably Gothic Rasta, league, i.e. resting or stopping place)

rest was mostly divided among his relatives within lo See also:

MILES, NELSON APPLETON (1839— )

miles round. His careful study of the antique, both at Urbino. He desired to be buried in the See also:

PANTHEON (Lat. pantheum or pantheon; Gr. srav& ov, all-holy, from re, s, all, and Oeor god)

Pantheon, under statues and modes of decoration, is clearly shown in many of his the noble dome which he and Bramante had dreamed of rival-frescoes, and especially in the graceful stucco reliefs and painted rival- grotteschi, of which he and his pupils made such skilful use in See also:

LING, PER HENRIK (1776-1839)

ling. His body is laid beside an altar, which he endowed with the decorations of the Vatican loggie, the Villa Madama and an See also:

ANNUAL

annual See also:

CHANTRY (Fr. chanterie, from chanter, to sing; Med. Lat. cantuaria)

chantry, and on the wall over it is a See also:

PLAIN (O. Fr. plain, from Lat. plenum)

plain slab, with elsewhere.' an inscription written by his friend Cardinal See also:

BEMBO, PIETRO (1470—1547)

Bembo. Happily Raphael's Fame.—Among all the painters of the world none has his See also:

GRAVE

grave has as yet escaped the disfigurement of a pretentious been so universally popular as Raphael, or has so steadily main- See also:

MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument such as those erected to Michelangelo, Dante and tanned his pre-eminent reputation throughout the many changes other great Italians; it has not, however, remained undisin taste which have taken place in the last three and a half turbed: in 1833 it was opened and the bones examined.' In centuries. Apart from his combined merits as a draughtsman, March 1883 a festival was held at Urbino, on the occasion of the colourist and master of graceful composition, he owes the constancy 4th See also:

CENTENARY (from Lat. centenarius, of or belonging to a hundred, from centeni, distributive of centum, hundred)

centenary of his birth, and on this occasion many interesting of admiration which has been See also:

FELT (cognate with Ger. Filz, Du. vilt, Swed. and Dan. fill; the root is unknown; the word has given Med. Lat. filtrum, " filter ")

felt for him partly to the wide range articles on Raphael were published, especially one by Geyof his subjects, but still more to the wonderful varieties of his miiller, " Le IVme centenaire de la naissance de Raphael," style. If the authorship of his paintings were unknown, who 1483–1883, in the Gaz. de See also:

LAUSANNE

Lausanne, March 1883. would guess that the Sposalizio of the Brera, the Madonna del LITERATURE.—Comolli, Vita inedita di Raffaello (1790) ; Duppa, l Baldacchino of the Pitti, and the Transfiguration could possibly Life (aphaeden, o 1d8on, See also:

FEA, CARLO (1753-1836)

Fea, ' BrRaff aun, lo .

Raphaeed alLeben und lui be the work of one painter? In the seventeen or eighteen Opere (Rome, 1822); Rehberg, Rafael Sanzio aus Urbino (Munich, years which composed his short working life he passed through 1824) ; See also:

QUATREMERE, ETIENNE MARC (1782-1857)

Quatremere de See also:

Quincy, Vita ed Opere di Raffaello, trans. b•r stages of development for which a century would not have Longhena (Milan, 1829) (a work marred by many inaccuracies); seemed too long, while other painters lived through the same Rumohr, Tiber Raphael and sein Verh¢ltniss (Berlin, 1831); Rio, Michelange et Raphael (Paris, 1863); Gruyer, Raphael et l'antiquite changeful time with but little alteration in their manner of (Paris, 1864), Les vierges de Raphael (Paris, 1878) and Raphael, work. Perugino, who outlived his wonderful pupil, completed peintre de portraits (Paris, 188o) ; See also:

Grimm, Das Leben Raphaels von in 1521 Raphael's San Severo fresco in a style differing but little Urbino (Berlin, 1872) (intended specially to point out the errors of from his paintings executed in the previous century. Vasari and Passavant, and not written in a very fair spirit); Gher- In versatility of xecu ed Raphael remains almost ardi, Della Vita di Raffaello (Urbino, 1874) ; Anton Springer, Rafael Y power (as a previous painter) and Michelangelo (Leipzig, 1878) ; C. C. See also:

Perkins, Raphael and Michel-without a rival; whether painting an altar-piece for a church, angelo (See also:

Boston, 1878) ; Dohme, Kunst and Kilnstler des Mittelalters a large See also:

HISTORICAL

historical fresco, a portrait or decorative scenes from (Leipzig, 1878) (vol. ii. of this valuable work, with many illustrations, classical See also:

MYTHOLOGY

mythology, he seems to excel equally in each; and is devoted entirely to Raphael and Michelangelo); Alippi, Il the widely different methods of painting tempera, oil or Raffaello (Urbino, 188o); Clement, Michelange et Raphael (5th ed., Y Pa g improved) (Paris, 1881); Eug. Mentz, Raphael, sa vie, son oeuvre, fresco are employed by him with apparently equal facility. &c. (Paris, 1881) (with numerous well-chosen illustrations); Passa-His range of scale is no less remarkable, varying from a miniature, vant, Rafael and sein Vater (Leipzig, 1839–58) (a valuable book, finished like an illuminated MS., to See also:

COLOSSAL

colossal figures in fresco especially for its list of Raphael's works; a new edition translated dashed in with inimitable breadth and vigour. Guasti into Italian was published at Florence in 1882, but this edition is in no way superior to the See also:

French one of See also:

Lacroix His See also:

PERSONAL

personal beauty, See also:

CHARM (through the Fr. from the Lat. carmen, a song)

charm of manner and deep kindliness of (Paris, 1860), which is a great advance on the original German text) ; See also:

heart endeared him to all who knew him.' His sincere modesty Crowe and Cavalcaselle, Life and Works of Raphael (London, 1882–was not diminished by his See also:

ADMISSION

admission as an equal by the princes 85) ; Eug. Mentz, Les historiens et les critiques de Raphael (Paris, of the church, the distinguished scholars and the world-famed Masters conta (in 1 German, 188o g in hEnglish, '1882, and subsequently men of every class who formed the courts of Julius II. and republished),—practically the starting-point of modern technical Leo X. 'In accordance with the spirit of the age he lived with criticism; B.

Berenson, Central Italian Painters (1897) (See also:

EXPERT (Lat. expertus, from experiri, to try)

expert considerable display and luxury, and was approached with the characterization and list of works). utmost deference by the ambassadors of See also:

FOREIGN

foreign princes, Reproductions of Raphael's Works.—From the time of Raimondi whether their master desired a or, as the duke of Ferrara downwards no painter's works have been so frequently engraved. w picture, The Calcografia Camerale (now called Regia) of Rome possesses did, sent to consult him on the best cure for smoky chimneys. an enormous number of See also:

COPPER (symbol Cu, atomic weight 63.1, H=1, or 63.6, O = 16)

copper-plates of his pictures by a great To his pupils he was as a father, and they were all, as Vasari many good (and See also:

BAD, BCD

bad) engravers of the 18th and 19th centuries. says, " vinti dally sua cortesia "; they formed round him a Electrotypes of the old coppers are still worked, and are published sort of royal See also:

RETINUE (O. Fr. retenue, from retenir, Lat. retenere, hold back, retain)

retinue, numbering about fifty youths, each by the Stamperia at very moderate prices; in the See also:

CATALOGUE (a Fr. adaptation of the Gr. KaraXoyos, a register, from Karalyety, to enrol or pick out)

catalogue Nos. 736 to 894 are the works of Raphael, including several books of talented in some branch of the arts.' Giulio Romano and engravings containing whole sets, such as the Vatican loggie, &c. Gianfrancesco Penni, his two favourite pupils, lived with him A very complete collection of photographs from these and other in the Palazzo di Bramante, a house near St Peter's, where he engravings was published by Gutbier and Liibke, Rafael's Werke, resided during the greater art of his life in Rome. This fine sdmmtliche Tafelbilder and Fresken (Dresden, 1881-82), in three large g P volumes, divided into classes, pictures of the Madonna, frescoes, ' On a pedestal is inscribed in See also:

Greek—" Better to die than live stanze of the Vatican, tapestry cartoons, &c. The descriptive text P and life of Raphael are by Liibke. The See also:

Malcolm, Oxford, British basely." Museum, Lille, Louvre, Dresden and other collections of Raphael's 2 Published by See also:

VISCONTI

Visconti, Lellera di Raffaello a Leone X. (Rome, drawings have mostly been published in photographic facsimile, 1840); see also Miintz, " Raphael Archeologue," &c., Gaz. des B. and an enormous number of illustrated monographs on single Arts, See also:

OCTOBER

October and See also:

NOVEMBER (Lat. novem, nine)

November 1880. pictures exist. Braun's autotypes of the stanze and Farnesina See Gruyer, Raphael et l'antiquite (Paris, 1864). i frescoes are especially good. (J. H.

M.) See the eloquent eulogy of his character at the end of Vasari's I Life. ' See " Ritrovamento delle See also:

OSSA (mod. Kissovo or Kissavo)

ossa di Raffaello," See also:

Soc. Virtuosi See Minghetti, " Gli Scolari di Raffaello." Nuova Antologia al Panteone (Rome, 1833) ; other pamphlets on this were pub-(See also:

JUNE

June 18So). lished in the same year by Fea, Falconieri and Odescalchi.

End of Article: RAPHAEL SANZIO (1483–1520)

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