Chapter V: Book III: Roman School (3)

In the subsequent works of Raffaello, and after the year 1509, we do not find any traces of his first style. He had adopted a nobler manner, and henceforth applied all his powers to the perfecting of it. He had now to represent, on the opposite side, Philosophy. In this he designed a gymnasium in the form of a temple, and placed the learned ancients, some in the precincts of the building, some on the ascent of the steps, and others in the plain below. In this, more than on any other occasion, he was aided by his favourite Petrarch in the third capitolo of his Fame. Plato, "_che in quella schiera ando piu presso al segno_," is there represented with Aristotle, "_piu d'ingegno_," in the act of disputation; and they possess also in the composition, the highest place of honour; Socrates is represented instructing Alcibiades; Pythagoras is seen, and before him a youth holds a tablet with the harmonious concords; and Zoroaster, King of Bactriana, appears with an elementary globe in his hand. Diogenes is stretched near on the ground, with his wooden bowl in his hand, "_assai piu che non vuol vergogna aperto_:" Archimedes is seen "_star col capo basso_," and turning the compasses on the table, instructs the youth in geometry; and others are represented meditating, or in disputation, whose names and characters it would be possible, with careful observation, to distinguish more truly than Vasari has done. This picture is commonly called the School of Athens, which in my judgment is just as appropriate, as the name of the Sacrament bestowed on the first subject. The third picture, representing Jurisprudence, is divided into two parts. On the left side of the window stands Justinian, with the book of the Civil Law; Trebonian receives it from his hand with an expression of submission and acquiescence, which no other pencil can ever hope to equal. On the right side is seen Gregory IX. who delivers the book of the Decretals to an advocate of the Consistory, and bears the features of Julius II., who is thus honoured in the character of his predecessor. In the concluding picture, which is a personification of Poetry, is seen Mount Parnassus, where, in company of Apollo and the muses, the Greek, Roman, and Tuscan poets are represented in their own portraitures, as far as records will allow. Homer, seated between Virgil and Dante, is, perhaps, the most striking figure; he is evidently gifted with a divine spirit, and unites in his person the characters of the prophet and the poet. The historical pieces in chiaroscuro contribute, by their ornaments, to charm the sight, and preserve the unity of design. Beneath the Theology, for instance, is represented S. Augustine on the borders of the sea, instructed by the angels not to explore the mystery of the Trinity, incomprehensible to the human mind. Under the Philosophy, Archimedes is seen surprised and slain by a soldier, whilst immersed in his studies. This first chamber was finished in 1511, as that year appears inscribed near the Parnassus.

Vasari, until the finishing of the first chamber, does not speak of the improvement of his manner; on the contrary, in his life of Raffaello, he says, "although he had seen so many monuments of antiquity in that city, and studied so unremittingly, still his figures, up to this period, did not possess that breadth and majesty which they afterwards exhibited. For it happened, that the breach between Michelangiolo and the Pope, which we have before mentioned in his life, occurred about this time, and compelled Bonarruoti to flee to Florence; from which circumstance, Bramante obtaining possession of the keys of the chapel, exhibited it to his friend Raffaello, in order that he might make himself acquainted with the style of Michelangiolo;" and he then proceeds to mention the Isaiah of S. Agostino, and the Sibyls della Pace, painted after this period, and the Heliodorus. In the life of Michelangiolo, he again informs us of the quarrel which obliged him to depart from Rome, and proceeds to say, that when, on his return, he had finished one half of the work, the Pope suddenly commanded it to be exposed; "whereupon Raffaello d'Urbino, who possessed great facility of imitation, immediately changed his style, and at one effort designed the Prophets and Sibyls della Pace." This brings us to a dispute prosecuted with the greatest warmth both in Italy and other countries. Bellori attacked Vasari in a violent manner, in a work entitled: "_Se Raffaello ingrandi e miglioro la maniera per aver vedute le opere di Michelangiolo_," (Whether Raffaello enlarged and improved his style on seeing the works of Michelangiolo). Crespi replied to him in three letters, inserted in the Lettere Pittoriche,[39] and many other disputants have arisen and stated fresh arguments.

It is not, however, our province to engage the reader in these disputations. It was greatly to the advantage of Michelangiolo's fame to have had two scholars, who, while he was yet living, and after the death of Raffaello, employed themselves in writing his life; and a great misfortune to Raffaello not to have been commemorated in the same manner. If he had survived to the time when Vasari and Condivi wrote, he would not have passed over their charges in silence. Raffaello would then have easily proved, that when Bonarruoti fled to Florence, in 1506, he himself was not in Rome, nor was called thither until two years afterwards; and that he could not, therefore, have obtained a furtive glance of the Sistine chapel. It would have been proved too, that from the year 1508, when Michelangiolo had, perhaps, not commenced his work, until 1511, in which year he exhibited the first half of it,[40] Raffaello had been endeavouring to enlarge his style; and as Michelangiolo had before studied the Torso of the Belvidere, so Raffaello also formed himself on this and other marbles,[41] a circumstance easily discoverable in his style. He might too have asked Vasari, in what he considered grandeur and majesty of style to consist; and from the example of the Greeks, and from reason herself, he might have informed him, that the grand does not consist in the enlargement of the muscles, or in an extravagance of attitude, but in adopting, as Mengs has observed, the noblest, and neglecting the inferior and meaner parts;[42] and exercising the higher powers of invention. Hence he would have proceeded to point out the grandeur of style in the School of Athens, in the majestic edifice, in the contour of the figures, in the folds of the drapery, in the expression of the countenances, and in the attitudes; and he would have easily traced the source of that sublimity in the relics of antiquity. And if he appeared still greater in his Isaiah, he might have refuted Vasari from his own account, who assigns this work to a period anterior to 1511, and therefore contemporary as it were with the School of Athens: adding, that he elevated his style by propriety of character, and by the study of Grecian art. The Greeks observed an essential difference between common men and heroes, and again between their heroes and their gods; and Raffaello, after having represented philosophers immersed in human doubts, might well elevate his style when he came to figure a prophet meditating the revelations of God.[43] All this might have been advanced by Raffaello, in order to relieve Bramante and himself from so ill supported an imputation. As to the rest, I believe he never would have denied, that the works of Michelangiolo had inspired him with a more daring spirit of design, and that in the exhibition of strong character, he had sometimes even imitated him. But how imitated him? In rendering, as Crespi himself observes, that very style more beautiful and more majestic, (p. 344). It is indeed a great triumph to the admirers of Raffaello to be able to say, whoever wishes to see what is wanting in the Sibyls of Michelangiolo, let him inspect those of Raffaello; and let him view the Isaiah of Raffaello, who would know what is wanting in the prophets of Michelangiolo.

After public curiosity was gratified, and Raffaello had obtained a glimpse of this new style, Bonarruoti closed the doors, and hastened to finish the other half of his work, which was completed at the close of 1512, so that the Pope, on the solemnization of the Feast of Christmas, was enabled to perform mass in the Sistine chapel. In the course of this year, Raffaello was employed in the second chamber on the subject of Heliodorus driven from the Temple by the prayers of Onias the high priest, one of the most celebrated pictures of the place. In this painting, the armed vision that appears to Heliodorus, scatters lightnings from his hand, while the neighing of the steed is heard amidst the attendant thunder. In the numerous bands, some of which are plundering the riches of the Temple, and others are ignorant of the cause of the surprise and terror exhibited in Heliodorus, consternation, amazement, joy, and abasement, and a host of passions, are expressed. In this work, and in others of these chambers, Raffaello, says Mengs, gave to painting all the augmentation it could receive after Michelangiolo. In this picture he introduced the portrait of Julius II., whose zeal and authority is represented in Onias. He appears in a litter borne by his grooms, in the manner in which he was accustomed to repair to the Vatican, to view this work. The Miracle of Bolsena was also painted in the lifetime of Julius.

The remaining decorations of these chambers were all illustrative of the history of Leo X., whose imprisonment in Ravenna, and subsequent liberation, is typified by St. Peter released from prison by the angel. It was in this piece that the painter exhibited an astonishing proof of his knowledge of light. The figures of the soldiers, who stand without the prison, are illuminated by the beams of the moon: there is a torch which produces a second light; and from the angel emanates a celestial splendour, that rivals the beams of the sun. He has here, too, afforded another proof how art may convert the impediments thrown in her way to her own advantage; for the place where he was painting being broken by a window, he has imagined on each side of it a staircase, which affords an ascent to the prison, and on the steps he has placed the guards overpowered with sleep; so that the painter does not seem to have accommodated himself to the place, but the place to have become subservient to the painter. The composition of S. Leo the Great, who checks Attila at the head of his army, and that of the other chamber, the battle with the Saracens in the port of Ostium, and the victory obtained by S. Leo IV., justify Raffaello's claim to the epic crown: so powerfully has he depicted the military array of men and horse, the arms peculiar to each nation, the fury of the combat, and the despair and humiliation of the prisoners. Near this performance, too, is the wonderful piece of the Incendio di Borgo (a city enveloped in fire), which is miraculously extinguished by the same S. Leo. This wonderful piece alternately chills the heart with terror, or warms it with compassion. The calamity of fire is carried to its extreme point, as it is the hour of midnight, and the fire, which already occupies a considerable space, is increased by a violent wind, which agitates the flames that leap with rapidity from house to house. The affright and misery of the inhabitants is also carried to the utmost extremity. Some rush forward with water, but are driven back by the scorching flames; others seek safety in flight, with naked feet, robeless, and with dishevelled hair; women are seen turning an imploring look to the Pontiff; mothers, whose own terrors are absorbed in fear for their offspring; and here a youth, who bearing on his shoulders his aged and infirm sire, and sinking beneath the weight, collects his almost exhausted strength to place him out of danger. The concluding subjects refer to Leo III.; the Coronation of Charlemagne, by the hand of that Pontiff, and the Oath taken by the Pope on the Holy Evangelists, to exculpate himself from the calumnies laid to his charge. In Leo, is meant to be represented Leo X., who is thus honoured in the persons of his predecessors; and in Charlemagne is represented Francis I., King of France. Many persons of the age are also figured in the surrounding group, so that there is not an historical subject in these chambers that does not contain the most accurate likenesses. In this latter department of art, also, Raffaello may be said to have been transcendant. His portraits have deceived even persons the most intimately acquainted with the subjects of them. He painted a remarkable picture of Leo X., and on one occasion the Cardinal Datary of that time, found himself approaching it with a bull, and pen and ink, for the Pope's signature.[44]

The six subjects which relate to Leo, elected in 1513, were finished in 1517. In the nine years which Raphael employed on these three chambers, and also in the three following years, he made additional decorations to the Pontifical Palace; he observed the style of ornament suitable to each part of it, and thus made the Pope's residence a model of magnificence and taste for all Europe. Few have adverted to this instance of his merit. He superintended the new gallery of the palace, availing himself in part of the design of Bramante, and in part improving on him. "He then made designs for the stuccos, and the various subjects there painted, and also for the divisions, and he then appointed Giovanni da Udine to finish the stuccos and arabesques, and Giulio Romano the figures." The exposure of this gallery to the inclemencies of the air, has left little remaining besides the squalid grotesques; but those who saw it at an early period, when the unsullied splendor of the gold, the pure white of the stuccos, the brilliancy of the colours, and the newness of the marble, rendered every part of it beautiful and resplendent, must have thought it a vision of paradise. Vasari, in eulogizing it, says, "It is impossible to execute, or to conceive, a more exquisite work." The best which now remain are the thirteen ceilings, in each of which are distributed four subjects from holy writ, the first of which, the Creation of the World, Raffaello executed with his own hand as a model for the others, which were painted by his scholars, and afterwards retouched and rendered uniform by himself, as was his custom. I have seen copies of these in Rome, executed at great cost, and with great fidelity, for Catherine, Empress of Russia, under the direction of Mr. Hunterberger, and from the effect which was produced by the freshness of the colours, I could easily conceive how highly enchanting the originals must have been. But their great value consisted in Raffaello having enriched them by his invention, expression, and design, and every one is agreed that each subject is a school in itself. It appears certain too, that he was desirous of competing with Michelangiolo, who had treated the same subject in the Sistine chapel; and of appealing to the public to judge whether or not he had equalled him. To describe in a suitable manner the other pictures in chiaroscuro, and the numerous landscapes and architectural subjects, the trophies, imitations of cameos, masks, and other things which this divine artist either designed himself or formed into new combinations from the antique, is a task, says Taja, far above the reach of human powers. Taja has however himself given us a delightful description of these works.[45] It confers the highest honour on Raffaello, to whom we owe the fifty-two subjects, and all the ornamental parts.

Nor were the pavements, or the doors, or other interior works in the palace of the Vatican, completed without his superintendence. He directed the pavements to be formed of _terra invetriata_, an ancient invention of Luca della Robbia, which having continued for many generations as a family secret, was then in the hands of another Luca. Raffaello invited him to Florence to execute this vast work, employed him in the gallery, and in many of the chambers, which he adorned with the arms of the Pope. For the couches and other ornaments of the Camera di Segnatura he brought to Rome F. Giovanni da Verona, who formed them of mosaic with the most beautiful views. For the entablatures of the chambers, and for several of the windows and doors, he engaged Giovanni Barile, a celebrated Florentine engraver of gems. This work was executed in so masterly a manner, that Louis XIII., wishing to ornament the palace of the Louvre, had all these intaglios separately copied. The drawings of them were made by Poussin, and Mariette boasted of having them in his collection. Nor was there any other work either of stone or marble for which a design was required, which did not come under the inspection of Raffaello, and on which he did not impress his taste, which was consummate also in the sister art of sculpture. A proof of this is to be seen in the Jonah, in the church of the Madonna del Popolo, in the Chigi chapel, which was executed by Lorenzetto under his direction, and which, Bottari says, may assume its place by the side of the Greek statues. Among his most remarkable works may be mentioned his designs for the tapestry in the papal chapel, the subjects of which were from the lives of the Evangelists, and the Acts of the Apostles. The cartoons for them were both designed and coloured by Raffaello; and after the tapestries were finished in the Low Countries, the cartoons passed into England, where they still remain. In these tapestries the art attained its highest pitch, nor has the world since beheld anything to equal them in beauty. They are exposed annually in the great portico of S. Peter, in the procession of the _Corpus Domini_, and it is wonderful to behold the crowds that flock to see them, and who ever regard them with fresh avidity and delight. But all these works of Raffaello would not have contributed to the extension of art at that period, beyond the meridian of Rome, if he had not succeeded in extending the fruits of his genius, by the means of prints. We have already noticed M. A. Raimondi, in the first book, and we have shewn that this great engraver was courteously received, and was afterwards assisted by Sanzio, whence an abundance of copies of the designs and the works of this master have been given to the world. A fine taste was thus rapidly propagated throughout Europe, and the beautiful style of Raffaello began to be justly appreciated. In a short time it became the prevailing taste, and if his maxims had remained unaltered, Italian painting would probably have flourished for as long a period as Greek sculpture.

In the midst of such a variety of occupations, Raffaello did not fail to gratify the wishes of many private individuals, who were desirous of having his designs for buildings, in which branch of art he was highly celebrated, and also of possessing his pictures. I need only to refer to the gallery of Agostini Chigi, which he ornamented with his own hand, with the well known fable of Galatea. He afterwards, with the assistance of his pupils, painted the Marriage of Psyche, at the banquet of which he assembled all the heathen deities, with such propriety of form, with their attendant symbols and genii, that in these fabulous subjects he almost rivalled the Greeks. These pictures, and those also of the chambers of the Vatican, were retouched by Maratta, with incredible care; and the method he adopted, as described by Bellori, may serve as a guide in similar cases. Raffaello also painted many altarpieces, with saints generally introduced; as that Delle Contesse at Foligno, where he introduced the Chamberlain of the Pope, alive, rather than drawn from the life: that for S. Giovanni in Monte, at Bologna, of S. Cecilia, who, charmed to rapture by a celestial melody, forgets her musical instrument, which falls neglected from her hands; that for Palermo, of Christ ascending Mount Calvary, called _dello Spasimo_, which, however much disparaged by Cumberland, for having been retouched, is a noble ornament of the royal collection at Madrid; and the others at Naples and at Piacenza, which are mentioned by his biographers. He also painted S. Michael for the King of France, and many other holy families[46] and devotional subjects, which neither Vasari nor his other biographers have fully enumerated.

But although the creation of these wonderful works was become a habit in this great artist, still every part of his productions cannot be considered as equally successful. It is known, that in the frescos of the palace, and in the Chigi gallery, he was censured in some naked figures for errors committed, as Vasari says, by some of his school. Mengs, who varied his opinions at different periods of his life, insinuates, that Raffaello for some time seemed to slumber, and did not make those rapid strides in the art, which might have been expected from his genius. This was, probably, when Michelangiolo was for some years absent from Rome. But when he returned, and heard it reported that many persons considered the paintings of Raffaello superior to his in colour, of more beauty and grace in composition, and of a correspondent excellence in design, whilst his works were said to possess none of these qualities except the last; he was stimulated to avail himself of the pencil of Fra Sebastiano, and at the same time supplied him with his own designs. The most celebrated work which they produced in conjunction, was a Transfiguration, in fresco, with a Flagellation, and other figures, in a chapel of S. Peter in Montorio. Raffaello being subsequently employed to paint a picture for the Cardinal Giulio de' Medici, afterwards Clement VII., Sebastiano, in a sort of competition, painted another picture of the same size. In the latter was represented the raising of Lazarus; in the former, with the master's accustomed spirit of emulation, the Transfiguration. "This is a picture which combines," says Mengs, "more excellences than any of the previous works of Raffaello. The expression in it is more exalted and more refined, the chiaroscuro more correct, the perspective better understood, the penciling finer, and there is a greater variety in the drapery, more grace in the heads, and more grandeur in the style."[47] It represents the mystery of the Transfiguration of Christ on the summit of Mount Tabor. On the side of the hill he has placed a band of his disciples, and with the happiest invention has engaged them in an action conformable to their powers, and has thus formed an episode not beyond the bounds of probability. A youth possessed is presented to them, that they may expel the evil spirit that torments him; and in the possessed, struggling with the presence of the demon, the confiding faith of the father, the affliction of a beautiful and interesting female, and the compassion visible in the countenances of the surrounding apostles, we are presented with perhaps the most pathetic incident ever conceived. Yet this part of the composition does not fix our regard so much as the principal subject on the summit of the mountain. There the two prophets, and the three disciples, are most admirably delineated, and the Saviour appears enveloped in a glory emanating from the fountain of eternal light, and surrounded by that chaste and celestial radiance, that is reserved exclusively for the eyes of the elect. The countenance of Christ, in which he has developed all his combined ideas of majesty and beauty, may be considered the masterpiece of Raffaello, and seems to us the most sublime height to which the genius of the artist, or even the art itself, was capable of aspiring. After this effort he never resumed his pencil, as he was soon afterwards suddenly seized with a mortal distemper, of which he died, in the bosom of the church, on Good Friday, (also the anniversary of his birthday,) 1520, aged thirty-seven years. His body reposed for some days in the chamber where he was accustomed to paint, and over it was placed this noble picture of the Transfiguration, previous to his mortal remains being transferred to the church of the Rotonda for interment. There was not an artist that was not moved to tears at this affecting sight. Raffaello had always possessed the power of engaging the affections of all with whom he was acquainted. Respectful to his master, he obtained from the Pope an assurance that his works, in one of the ceilings of the Vatican, should remain unmolested; just towards his rivals, he expressed his gratitude to God that he had been born in the days of Bonarruoti; gracious towards his pupils, he loved them, and intrusted them as his own sons; courteous even to strangers, he cheerfully lent his aid to all who asked his advice; and in order to make designs for others, or to direct them in their studies, he sometimes even neglected his own work, being alike incapable of refusing or delaying his inestimable aid. All these reflections forced themselves on the minds of the spectators, whose eyes were at one moment directed to the view of his youthful remains, and of those divine hands that had, in the imitation of her works, almost excelled nature herself; and at another moment, to the contemplation of this his latest production, which appeared to exhibit the dawn of a new and wonderful style; and the painful reflection presented itself, that, with the life of Raffaello, the brightest prospects of art were thus suddenly obscured. The Pope himself was deeply affected at his death, and requested Bembo to compose the epitaph which is now read on his tomb; and his loss was considered as a national calamity throughout all Italy. True indeed it is, that soon after his decease, Rome herself, and her territory, experienced such unheard of calamities, that many had just cause to envy him, not only the celebrity of his life, but the opportune period of his death. He was not doomed to see the illustrious Leo X., at a time when he extended the most exalted patronage to the arts, poisoned by a sacrilegious hand; nor Clement VII., pressed by an enraged enemy, seeking shelter in the Castle of S. Angelo, afterwards compelled to fly for his life, and obliged to purchase, at enormous sums, the liberty of his servants. Nor did he witness the horrors attending the sacking of Rome, the nobility robbed and plundered in their own palaces, the violation of hapless females in the convents; prelates unrelentingly dragged to the scaffold, and priests torn from the altars, and from the images of their saints, to whom they looked in vain for refuge, slaughtered by the sword, and their bodies thrown out of the churches a prey to the dogs. Nor did he survive to see that city, which he had so illustrated by his genius, and where he had for so many years shared the public admiration and esteem, wasted with fire and sword. But of this we shall speak in another place, and shall here adduce some observations on his style, selected from various authors, and more particularly from Mengs, who has ably criticised it in his works already enumerated by me, as well as in some others.

Raffaello is by common consent placed at the head of his art; not because he excelled all others in every department of painting, but because no other artist has ever possessed the various parts of the art united in so high a degree. Lazzarini even asserts, that he was guilty of errors, and that he is only the first, because he did not commit so many as others. He ought, however, to have allowed, that his defects would be excellences in any other artist, being nothing more in him than the neglect of that higher degree of perfection to which he was capable of attaining. The art, indeed, comprehends so many and such difficult parts, that no individual artist has been alike distinguished in all; even Apelles was said to yield to Amphion in disposition and harmony, to Asclepiadorus in proportion, and to Protogenes in application.

The style of design of Raffaello, as seen in those drawings, divested of colours, which now form the chief ornaments of cabinets, presents us, if we may use the term, with the pure transcript of his imagination, and we stand in amaze at the contours, grace, precision, diligence, and genius, which they exhibit. One of the most admired of his drawings I once saw in the gallery of the Duke of Modena, a most finished and superior specimen, uniting in style all the invention of the best painters of Greece, and the execution of the first artists of Italy. It has been made a question whether Raffaello did not yield to Michelangiolo in drawing; and Mengs himself confesses, that he did, as far as regards the anatomy of the muscles, and in strong expression, in which he considers Raffaello to have imitated Michelangiolo. But we need not say with Vasari, that in order to prove that he understood the naked figure as well as Michelangiolo, he appropriated to himself the designs of that great master. On the contrary, in the figures of the two youths in the Incendio di Borgo, criticised by Vasari, one of whom is in the act of leaping from a wall to escape the flames, and the other is fleeing with his father on his shoulders, he not only proved that he had a perfect knowledge of the action of the muscles and the anatomy requisite for a painter, but prescribed the occasion when this style might be used without impropriety, as in figures of a robust form engaged in violent action. He moreover commonly marked the principal parts in the naked figure, and indicated the others after the example of the better ancient masters, and where he wrought from his own ideas, his execution was most correct. On this subject Bellori may be consulted at page 223 of the work already quoted, and the annotations to vol. ii. of Mengs, (page 197,) made by the Cavaliere d'Azzara, minister of the king of Spain at Rome, an individual, who, in conferring honour on the artist, has by his own writing conferred honour on art itself.

In chasteness of design, Raffaello was by some placed on a level with the Greeks, though this praise we must consider as extravagant. Agostino Caracci commends him as a model of symmetry; and in that respect, more than in any other, he approached the ancients; except, observes Mengs, in the hands, which being rarely found perfect in the ancient statues, he had not an equal opportunity of studying, and did not therefore design them so elegantly as the other parts. He selected the beautiful from nature, and as Mariette observes, whose collection was rich in his designs, he copied it with all its imperfections, which he afterwards gradually corrected, as he proceeded with his work. Above all things, he aimed at perfecting the heads, and from a letter addressed to Castiglione on the Galatea of the Palazzo Chigi, or of the Farnesina, he discovers how intent he was to select the best models of nature, and to perfect them in his own mind.[48] His own Fornarina assisted him in this object. Her portrait, by Raffaello's own hand, was formerly in the Barberini palace, and it is repeated in many of his Madonnas, in the picture of S. Cecilia, in Bologna, and in many female heads. Critics have often expressed a wish that these heads had possessed a more dignified character, and in this respect he was, perhaps, excelled by Guido Reni, and however engaging his children may be, those of Titian are still more beautiful. His true empire was in the heads of his men, which are portraits selected with judgment, and depicted with a dignity proportioned to his subject. Vasari calls the air of these heads superhuman, and calls on us to admire the expression of age in the patriarchs, simplicity of life in the apostles, and constancy of faith in the martyrs; and in Christ in the Transfiguration, he says, there is a portion of the divine essence itself transferred to his countenance, and made visible to mortal eyes.

This effect is the result of that quality that is called expression, and which, in the drawing of Raffaello has attracted more admiration of late years than formerly. It is remarkable, that not only Zuccaro, who was indeed a superficial writer, but that Vasari, and Lomazzo himself, so much more profound than either of them, should not have conferred on him that praise which he afterwards received from Algarotti, Lazzarini, and Mengs. Lionardo was the first, as we shall see in the Milanese School, to lead the way to delicacy of expression; but that master, who painted so little, and with such labour, is not to be compared to Raffaello, who possessed the whole quality in its fullest extent. There is not a movement of the soul, there is not a character of passion known to the ancients, and capable of being expressed by art, that he has not caught, expressed, and varied, in a thousand different ways, and always within the bounds of propriety. We have no tradition of his having, like Da Vinci, frequented the public streets to seek for subjects for his pencil; and his numerous pictures prove that he could not have devoted so much time to this study, while his drawings clearly evince, that he had not equal occasion for such assistance. Nature, as I have before remarked, had endowed him with an imagination which transported his mind to the scene of the event, either fabulous or remote, in which he was engaged, and awoke in him the very same emotions which the subjects of such story must themselves have experienced; and this vivid conception assisted him until he had designed his subject with that distinctness which he had either observed in other countenances, or found in his own mind. This faculty, seldom found in poets, and still more rarely in painters, no one possessed in a more eminent degree than Raffaello. His figures are passions personified; and love, fear, hope, and desire, anger, placability, humility, or pride, assume their places by turns, as the subject changes; and while the spectator regards the countenances, the air, and the gestures of his figures, he forgets that they are the work of art, and is surprised to find his own feelings excited, and himself an actor in the scene before him. There is another delicacy of expression, and this is the gradation of the passions, by which every one perceives whether they are in their commencement or at their height, or in their decline. He had observed their shades of difference in the intercourse of life, and on every occasion he knew how to transfer the result of his observations to his canvas. Even his silence is eloquent, and every actor

"Il cor negli occhi, e nella fronte ha scritto:"

the smallest perceptible motion of the eyes, of the nostrils, of the mouth, and of the fingers, corresponds to the chief movements of every passion; the most animated and vivid actions discover the violence of the passion that excites them; and what is more, they vary in innumerable degrees, without ever departing from nature, and conform themselves to a diversity of character without ever risking propriety. His heroes possess the mien of valour; his vulgar, an air of debasement; and that, which neither the pen nor the tongue could describe, the genius and art of Raffaello would delineate with a few strokes of the pencil. Numbers have in vain sought to imitate him; his figures are governed by a sentiment of the mind, while those of others, if we except Poussin and a very few more, seem the imitation of tragic actors from the scenes. This is Raffaello's chief excellence; and he may justly be denominated the painter of mind. If in this faculty be included all that is difficult, philosophical, and sublime, who shall compete with him in the sovereignty of art?

Another quality which Raffaello possessed in an eminent degree was grace, a quality which may be said to confer an additional charm on beauty itself. Apelles, who was supremely endowed with it among the ancients, was so vain of the possession that he preferred it to every other attribute of art.[49] Raffaello rivalled him among the moderns, and thence obtained the name of the new Apelles. Something might, perhaps, be advantageously added to the forms of his children, and other delicate figures which he represented, but nothing can add to their gracefulness, for if it were attempted to be carried further it would degenerate into affectation, as we find in Parmegiano. His Madonnas enchant us, as Mengs observes, not because they possess the perfect lineaments of the Medicean Venus, or of the celebrated daughter of Niobe; but because the painter in their portraits and in their expressive smiles, has personified modesty, maternal love, purity of mind, and, in a word, grace itself. Nor did he impress this quality on the countenance alone, but distributed it throughout the figure in its attitude, gesture, and action, and in the folds of the drapery, with a dexterity which may be admired, but can never be rivalled. His freedom of execution was a component part of this grace, which indeed vanishes as soon as labour and study appear; for it is with the painter as with the orator, in whom a natural and spontaneous eloquence delights us, while we turn away with indifference from an artificial and studied harangue.

In regard to the province of colour, Raffaello must yield the palm to Titian and Correggio, although he himself excelled Michelangiolo and many others. His frescos may rank with the first works of other schools in that line: not so his pictures in oil. In the latter he availed himself of the sketches of Giulio, which were composed with a degree of hardness and timidity; and though finished by Raffaello, they have frequently lost the lustre of his last touch. This defect was not immediately apparent, and if Raffaello's life had been prolonged, he would have been aware of the injuries his pictures received from the lapse of time, and would not have finished them in so light a manner. He is on this account more admired in his first subject in the Vatican, painted under Julius II., than in those he executed under Leo X., for being there pressed by a multiplicity of business, and an idea of the importance of a grander style, he became less rich and firm in his colouring. That, however, he excelled in these respects is evinced by his portraits, when not having an opportunity of displaying his invention, composition, and beautiful style of design, he appears ambitious to distinguish himself by his colouring. In this respect his two portraits of Julius II. are truly admirable, the Medicean and the Corsinian: that of Leo X. between the two cardinals; and above all, in the opinion of an eminent judge, Renfesthein, that of Bindo Altoviti, in the possession of his noble descendants at Florence, by many regarded as a portrait of Raphael himself.[50] The heads in his Transfiguration are esteemed the most perfect he ever painted, and Mengs extols the colouring of them as eminently beautiful. If there be any exception, it is in the complexion of the principal female, of a greyish tint, as is often the case in his delicate figures; in which he is therefore considered to excel less than in the heads of his men. Mengs has made many exceptions to the chiaroscuro of Raffaello, as compared with that of Correggio, on which connoisseurs will form their own decision. We are told that he disposed it with the aid of models of wax; and the relief of his pictures, and the beautiful effect in his Heliodorus, and in the Transfiguration, are ascribed to this mode of practice. To his perspective, too, he was most attentive. De Piles found, in some of his sketches, the scale of proportion.[51] It is affirmed by Algarotti, that he did not attempt to paint _di sotto in su_. But to this opinion we may oppose the example we find in the third arch of the gallery of the Vatican, where there is a perspective of small columns, says Taja, imitated _di sotto in su_. It is true, that in his larger works he avoided it; and in order to preserve the appearance of nature, he represented his pictures as painted on a tapestry, attached by means of a running knot to the entablature of the room.

But all the great qualities which we have enumerated, would not have procured for Raffaello such an extraordinary celebrity, if he had not possessed a wonderful felicity in the invention and disposition of his subjects, and this circumstance is, indeed, his highest merit. It may with truth be said, that in aid of this object he availed himself of every example, ancient and modern; and that these two requisites have not since been so united in any other artist. He accomplishes in his pictures that which every orator ought to aim at in his speech--he instructs, moves, and delights us. This is an easy task to a narrator, since he can regularly unfold to us the whole progress of an event. The painter, on the contrary, has but the space of a moment to make himself understood, and his talent consists in describing not only what is passing, and what is likely to ensue, but that which has already occurred. It is here that the genius of Raffaello triumphs. He embraces the whole subject. From a thousand circumstances he selects those alone which can interest us; he arranges the actors in the most expressive manner; he invents the most novel modes of conveying much meaning by a few touches; and numberless minute circumstances, all uniting in one purpose, render the story not only intelligible, but palpable. Various writers have adduced in example the S. Paul at Lystra, which is to be seen in one of the tapestries of the Vatican. The artist has there represented the sacrifice prepared for him and S. Barnabas his companion, as to two gods, for having restored a lame man to the use of his limbs. The altar, the attendants, the victims, the musicians, and the axe, sufficiently indicate the intentions of the Lystrians. S. Paul, who is in the act of tearing his robe, shews that he rejects and abhors the sacrilegious honours, and is endeavouring to dissuade the populace from persisting in them. But all this were vain, if it had not indicated the miracle which had just happened, and which had given rise to the event. Raffaello added to the group the lame man restored to the use of his limbs, now easily recognized again by all the spectators. He stands before the apostles rejoicing in his restoration; and raises his hands in transport towards his benefactors, while at his feet lie the crutches which had recently supported him, now cast away as useless. This had been sufficient for any other artist; but Raffaello, who wished to carry reality to the utmost point, has added a throng of people, who, in their eager curiosity, remove the garment of the man, to behold his limbs restored to their former state. Raffaello abounds with examples like these, and he may be compared to some of the classical writers, who afford the more matter for reflection the more they are studied. It is sufficient to have noticed in the inventive powers of Raffaello, those circumstances which have been less frequently remarked; the movement of the passions, which is entirely the work of expression, the delight which proceeds from poetical conceptions, or from graceful episodes, may be said to speak for themselves, nor have any occasion to be pointed out by us.

Other things might contribute to the beauty of his works, as unity, sublimity, costume, and erudition; for which it is sufficient to refer to those delightful poetical pieces, with which he adorned the gallery of Leo X., and which were engraved by Lanfranco and Badalocchi, and are called the Bible of Raffaello. In the Return of Jacob, who does not immediately discover, in the number and variety of domestic animals, the multitude of servants, and the women carrying with them their children, a patriarchal family migrating from a long possessed abode into a new territory? In the Creation of the World, where the Deity stretches out his arms, and with one hand calls forth the sun and with the other the moon, do we not see a grandeur, which, with the simplest expression, awakes in us the most sublime ideas? And in the Adoration of the Golden Calf, how could he better have represented the idolatrous ceremony, and its departure from true religion, than by depicting the people as carried away by an insane joy, and mad with fanaticism? In point of erudition it is sufficient to notice the Triumph of David, which Taja describes and compares with the ancient bassirelievi, and is inclined to believe that there is not any thing in marble that excels the art and skill of this picture. I am aware that on another occasion he has not been exempted from blame, as when he repeated the figure of S. Peter out of prison, which hurts the unity of the subject; and in assigning to Apollo and to the muses instruments not proper to antiquity. Yet it is the glory of Raffaello to have introduced into his pictures numberless circumstances unknown to his predecessors, and to have left little to be added by his successors.

In composition also he is at the head of his art. In every picture the principal figure is obvious to the spectator; we have no occasion to inquire for it; the groups, divided by situation, are united in the principal action; the contrast is not dictated by affectation, but by truth and propriety; a figure absorbed in thought, often serves as a relief to another that acts and speaks; the masses of light and shade are not arbitrarily poised, but are in the most select imitation of nature; all is art, but all is consummate skill and concealment of art. The School of Athens, as it is called, in the Vatican, is in this respect amongst the most wonderful compositions in the world. They who succeeded Raffaello, and followed other principles, have afforded more pleasure to the eye, but have not given such satisfaction to the mind. The compositions of Paul Veronese contain a greater number of figures, and more decoration; Lanfranco and the machinists introduced a powerful effect, and a vigorous contrast of light and shade: but who would exchange for such a manner the chaste and dignified style of Raffaello? Poussin alone, in the opinion of Mengs, obtained a superior mode of composition in the groundwork, or economy of his subject; that is to say, in the judicious selection of the scene of the event.

We have thus concisely stated the perfection to which Raffaello carried his art, in the short space allotted him. There is not a work in nature or art where he has not practically illustrated his own axiom, as handed down to us by Federigo Zuccaro, that things must be represented, not as they are, but as they ought to be; the country, the elements, animals, buildings, every age of man, every condition of life, every affection, all was embraced and rendered more beautiful by the divine genius of Raffaello. And if his life had been prolonged to a more advanced period, without even approaching the term allowed to Titian or Michelangiolo, who shall say to what height of perfection he might not have carried his favourite art? Who can divine his success in architecture and sculpture, if he had applied himself to the study of them; having so wonderfully succeeded in his few attempts in those branches of art?

Of his pictures a considerable number are to be found in private collections, particularly on sacred subjects, such as the Madonna and Child, and other compositions of the Holy Family. They are in the three styles which we have before described: the Grand Duke has some specimens of each. The most admired is that which is named the Madonna della Seggiola.[52] Of this class of pictures it is often doubted whether they ought to be considered as originals, or copies, as some of them have been three, five, or ten times repeated. The same may be said of other cabinet pictures by him, particularly the S. John in the desart, which is in the Grand Ducal gallery at Florence, and is found repeated in many collections both in Italy and in other countries. This was likely to happen in a school where the most common mode was the following:--The subject was designed by Raffaello, the picture prepared by Giulio, and finished by the master so exquisitely, that one might almost count the hairs of the head. When the pictures were thus finished, they were copied by the scholars of Raffaello, who were very numerous, and of the second and third order; and these were also sometimes retouched by Giulio and by Raffaello himself. But whoever is experienced in the freedom and delicacy of the chief of this school, need not fear confounding his productions with those of the scholars, or of Giulio himself; who, besides having a more timid pencil, made use of a darker tint than his master was accustomed to do. I have met with an experienced person, who declared that he could recognize the character of Giulio in the dark parts of the flesh tints, and in the middle dark tints, not of a leaden colour as Raffaello used, nor so well harmonized; in the greater quantity of light, and in the eyes designed more roundly, which Raffaello painted somewhat long, after the manner of Pietro.

On this propitious commencement was founded the school which we call Roman, rather from the city of Rome itself, than from the people, as I have before observed. For as the inhabitants of Rome are a mixture of many tongues, and many different nations, of whom the descendants of Romulus form the least proportion; so the school of painting has been increased in its numbers by foreigners whom she has received and united to her own, and who are considered in her academy of S. Luke, as if they had been born in Rome, and enjoyed the ancient rights of Romans. Hence is derived the great variety of names that we find in the course of it. Some, as Caravaggio, derived no assistance from the study of the ancient marbles, and other aids peculiar to the capital; and these may be said to have been in the Roman School, but not to have formed a part of it. Others adopted the principles of the disciples of Raffaello, and their usual method was to study diligently both Raffaello and the ancient marbles; and from the imitation of him, and more particularly of the antique, resulted, if I err not, the general character, if I may so express it, of the Roman School: the young artists who were expert in copying statues and bassirelievi, and who had those objects always before their eyes, could easily transfer their forms to the panel or the canvas. Hence their style is formed on the antique, and their beauty is more ideal than that of other schools. This circumstance, which was an advantage to those who knew how to use it, became a disadvantage to others, leading them to give their figures the air of statues, beautiful, but isolated, and not sufficiently animated. Others have done themselves greater injury from copying the modern statues of saints; a practice which facilitated the representation of devout attitudes, the disposition of the folds in the garments of the monks and priests, and other peculiarities which are not found in ancient sculpture. But as sculpture has gradually deteriorated, it could not have any beneficial influence on the sister art; and it has hence led many into mannerism in the folds of their drapery, after Bernino and Algardi; excellent artists, but who ought not to have influenced the art of painting, as they did, in a city like Rome. The style of invention in this school is, in general, judicious, the composition chaste, the costume carefully observed, with a moderate study of ornament. I speak of pictures in oil, for the frescos of this later period ought to be separately considered. The colouring, on the whole, is not the most brilliant, nor is it yet the most feeble; there being always a supply of artists from the Lombards, or Flemings, who prevented it being entirely neglected.