on

Law or Jurisprudence, from the particular construction of the wall which it is painted, is represented with less completeness, and is broken up into divisions. Prudence, Fortitude, and Temperance are above; below on one side, is Pope Gregory, delivering the ecclesiastical law; and on the other Justinian promulgating his famous code of civil law.

As soon as Raphael reached the Ro- sively discoursing to the listeners near man Capital, he commenced the embel- him." Then on a lower plan we have lishment of the Camere of the Vatican. the Sciences and Arts, represented by The first saloon called the Camera della Pythagoras and Archimides, Zoroaster Segnatura, he devoted to the celebration and Ptolemy the geographer; while of Theology, Poetry, Philosophy, and alone, as if avoiding, and avoided by Jurisprudence. In four circles he all, sits Diogenes the Cynic. Raphael painted on the ceiling four figures, en- has represented the art of painting by throned in the clouds with befitting the figure of his master Perugino, and symbols, and attendant genii. Of has introduced a portrait of himself these the figure of Poetry is distin- humbly following him. guished by superior grandeur and inspiration. Beneath these figures, and on the four sides of the room he painted four great pictures, each about fifteen feet high by twenty-five feet wide, the subject illustrating the four allegorical figures above. Under Theology, he placed the composition generally known by the title of La Disputa, i.e. the argument concerning the Holy Sacrament. In the upper part is the heavenly glory, The biographers of Raphael are the Redeemer in the centre, beside him generally silent with regard to his the Virgin-mother. On the right and literary attainments. One of his letters left arranged in a semi-circle, patriarchs, now preserved in the Museo Borgia, is apostles, saints, are seated; all full of written in a kind of patois, and might character, dignity, and a kind of celes- be adduced as an evidence of his being tial repose, befitting their beatitude, illiterate, were it not that other letters Angels are hovering round; four of of his are extant, composed in pure them surrounding the emblematic Dove, and elegant Italian. He was well achold the gospels. In the lower half quainted with many branches of polite of the picture are assembled the cele- literature, and paid especial attention brated doctors and teachers of the to history and poetry. Petrarca was Church, grand, solemn, meditative one of his dearly loved authors, and figures; some searching their books; from this poet's "Trionfo della Fama,” some engaged in "colloquy sublime." he gathered many ideas which he And on each side, a little lower, groups made use of in his delineation of of disciples and listeners, every head "Philosophy," in the Camera della Segand figure a study of character and natura. expression, all different, all full of nature, animation and significance; and thus the two parts of this magnificent composition, the heavenly beatitude above, the mystery of faith below, combine with one comprehensive whole. Under Poetry, we have Mount Parnassus; Apollo, and the Muses are seen on the summit. On one side near them, the epic and tragic poets. Below on each side are the lyrical poets, Petrarch, Sappho, Corinna, Pindar, Horace.

Whilst engaged at Rome on the frescoes in the Vatican, our artist found a generous patron and friend in Agostino Chigi, a rich merchant of Rome, for whom he painted several valuable pictures-among others the "Triumphs of Galatea," and the "Sybils della Pace" in the Chapel, belonging to the Chigi family.

About the same time, Raphael executed a fine portrait of Pope Julius II., and also a likeness of himself, which is familiar to every one through the engravings. It represents him as a young man of singular beauty, with rich masses of dark hair, soft sweet eyes, and a touching noble expression, just the beau-ideal of a poet-artist.

Under Philosophy, Raphael has placed "the School of Athens." It represents a grand hall or portico, in which a flight of steps separates the foreground from the background. Conspicuous and above the rest, are the elder intellectual philosophers, Plato, Aristotle, Michael Angelo having fled from Socrates. Plato characteristically point- Rome at this period, on account of his ing upwards to heaven; Aristotle quarrel with the Pope, Bramante obpointing to the earth; Socrates impres-tained the keys of the Sistine Chapel,

66

and exhibited to Raphael the sublime efforts of his famous rival, which doubtless, in some measure, influenced his own style, for a short time afterwards Raphael painted the "Sybils" for A. Chigi, and the "Isaiah" of S. Agostino. In the same year he commenced the second chamber of the Vatican, in which he illustrated the miraculous triumph of the Church over her enemies. This series includes the wonderful picture of Heliodorus driven from the Temple," one of Raphael's most striking productions. "The group of the celestial warriors trampling on the prostrate Heliodorus, with the avenging angels floating air-borne to scourge the despoilers, is wonderful for its supernatural power -it is a vision of beauty and terror." The portrait of Julius II. is introduced in this work, under the character of the high-priest, Onias. The Pope died in 1513, before the completion of this chamber, and the triple crown devolved upon Leo X.

66

Raphael, whose marvellous frescoes in the Vatican filled the simple-hearted friar with wonder and admiration. Some of his best pictures were painted on his return to his convent after this visit.

Meanwhile, the works in the Vatican were still in progress. The remaining decorations were all in illustration of the history of Leo X., for in representing the events in the lives of preceding pontiffs the artist only "shadowed forth the glory of his patron." The most celebrated subjects in this series consist of "Attila driven from Italy by Saint Leo the Great," "the Liberation of St. Peter from Prison," and the "Fire in the Borgo,"—L'Incendio del Borgo.

It is singular to trace through these compositions how very cleverly Raphael has allegorized different incidents in the life-story of Leo X. For instance, in the representation of the expulsion of Attila, even St. Leo himself and his dignified attendants become only supposititious personages, intended to imThe age of Leo X. was the golden age mortalize Leo X., and the cardinals and of Italian art and literature. The Pa- prelates of his court, whose portraits are pal court was thronged with men of actually substituted for those of their learning and of genius, crowned, and predecessors in the honours and dignipurple-robed, and placed high among ties of the Roman See.. those whom the people delighted to To have represented Leo X., as living honour." Visions of beauty were then in the time of Leo III., would have not only dreamed, but raised to actual been an anachronism, to have exhibited life, through marble and through can-him as miraculously expelling Attila vas, and poet-lips were eloquent with from Italy, would have been a falsethe music of immortal song. Raphael hood. But Attila himself is only the was on terms of intimacy with many of type of the French monarch, Louis XII. the most eminent men of the day-whom Leo had, within the first months Ariosto, Sanazzaro, and the Cardinal of his pontificate, divested of the state Bembo, were among his friends. His of Milan, and expelled from the limits fame and riches greatly increased, so that of Italy." he built himself a beautiful residence, in Observe, how very skilfully the artist that quarter of Rome, called the Borgo, disposes of the apparent difficulty of between the Castle of St. Angelo and reconciling the two events. It is anthe Church of St. Peter. Scholars flocked other question, how far such a treatto his school from all parts of Italy, ment of the subject is consistent with and by all the young men under his the true dignity of art, and whether or tuition he was regarded with the pro- not an artist be justified in giving real foundest reverence and love. Most of portraits of living men, under the names the contemporary artists enjoyed friendly of historical personages. We see, howrelations with him, excepting Michael ever, no serious objections thereto, so Angelo, who, at that period, was absent long as care is taken to preserve the from Rome. At the commencement of distinguishing characteristics of the Leo X.'s pontificate the venerable Lio-primary subject of the picture. nardo da Vinci, visited the capital, and The fresco representing the angel made the acquaintance of Raphael, who also maintained a sincere friendship with Francia, and corresponded with Albert Durer.

Fra Bartolomeo visited Rome in 1513, and thus renewed his intercourse with

liberating St. Peter from prison, is placed opposite to another of Raphael's master-pieces-The Mass at Bolsena, in which the consecrated wafer miraculously dropped blood, to reprove the incredulity of the officiating priest. In

the picture of the release of St. Peter, the artist alludes to the imprisonment of the Pope Leo X. at Ravanna, and his subsequent liberation.

sepulchre, from models supplied by Raphael. One of these was the statue “ Jonah," worthy of being classed with the productions of ancient art. Our L'Incendio del Borgo depicts a fire artist adorned the Loggie of the Vatican in that quarter of Rome, which occured with a set of compositions from Old in the reign of Leo IV., and was said to Testament history, entitled "Raphael's have been extinguished by a superna- Bible." "The Loggie are open galtural interposition. "This wonderful leries, running round three sides of an piece alternately chills the heart with open court." The construction of these terror, or warms it with compassion. galleries had been commenced by The calamity of fire is carried to its Bramante, but he had not been able to extreme point, as it is the hour of mid- complete the design. They were connight, and the fire which already occu- sequently finished by Raphael, with the pies a considerable space, is increased addition of great improvements upon by a violent wind, which agitates the the original plan. The painter thus flames that leap with rapidity from afforded a new specimen of his skill as house to house. The affright and misery an architect, with which Leo X. was of some of the inhabitants are also car- well pleased. The direction of the inried to the utmost extremity. Some terior decorations were also entrusted rush forward with water, are driven to Raphael. "This afforded the artist back by scorching flames; others seek an opportunity of displaying his knowsafety in flight, with naked feet, robe-ledge of the antique, and his skill in less and with dishevelled hair; women imitating the ancient grotesque and 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 last chamber painted by Raphael in the Vatican was called the Hall of Constantine, being illustrative of the career of that Emperor. The frescoes in this series were executed by pupils from the artist's designs, as he had so many important undertakings under his superintendence, that it was utterly impossible for him to complete them all with his own hands. Hence he merely furnished the cartoons from which his scholars worked.

In the mean time Raphael painted several pictures for his munificent patron, Agostino Chigi, consisting chiefly of fresco decorations for his palace in the Transtevere, now called the Villa Farnesina; among which may be mentioned a series representing the history of Cupid and Psyche, still in excellent preservation. Our artist possessed also considerable architectural talent, for he furnished Agostino with the design of a private Chapel, and also engaged to superintend the erection of a magnificent mausoleum, which his patron was desirous of having built in his life-time. A sculptor, named Lorenzetto, executed two marble figures for this

arabesque ornaments, specimens of which then began to be discovered, as well in Italy as in other places, and which were collected from all parts at considerable expense by Raffaello, who also employed artists in various parts of Italy, even in Greece and Turkey, to furnish him with drawings of whatever remains of antiquity might appear deserving of notice. The execution of this great work was chiefly entrusted to two of his scholars, Giulio Romano, and Giovanni da Udine; the former of whom superintended the historical department, the latter the stucco and grotesques, in the representation and exquisite finish of which he excelled all the artists of his time; but various other artists who had already arrived at considerable eminence were employed in the work, and laboured with great assi duity. Among these were Giovanni Francesco Penni, Bartolomeo da Bagnacavallo, Perino del Vaga, Pellegrino da Modena, and Vincenzio da S. Gemignano.

The great extent and variety of this undertaking, the fertility of imagination displayed by Raffaello in his designs, the condescension and kindness with which he treated his pupils who attended him in great numbers whenever he appeared in public, and the liberality of the pontiff in rewarding their labours, all combined to render the Vatican at that period a perfect nursery of art."

There is an interesting story related

of one of the boys employed there, in grinding colours, and carrying the composition of lime and other artistic requisites. From hearing the conversations of the painters, and continually living in sight of the glorious creations of genius, this youth acquired a deep love of painting, and a burning desire to devote his life to the art, that he too might leave behind him some such fair memorials. Thought and observation were his only means of study, for he never practised painting until he was eighteen years of age, when all at once he "seized the pencil and astonished his employers." And from that time Polidoro da Caravaggio was numbered in the ranks of the disciples of Raphael. After the artist had completed the decorations of the Loggie he was employed to embellish one of the saloons of the Vatican in the same manner. Leo X. determined also to have the lower walls of the Capella Sistina hung round with costly tapestry, to be woven in Flanders, in wool, and silk, and gold. He desired Raphael to furnish the designs for this work, from different portions of Scripture history. The cartoons were accordingly executed, and forwarded to Flanders, where they were suffered to remain after the completion of the tapesty, until the reign of Charles the First, who had the good taste to pur chase them. They are now at Hampton Court, and familiar to us all. Originally they were ten in number, but three, unfortunately, have been lost. The tapestries were finished at Arras, and sent to Rome, in 1519. Raphael had the pleasure of seeing them disposed in their places, amid much admiring applause on the part of the spectators. Several sets of hangings were worked from the same cartoons, and of these one set was presented to Henry VIII. of England, and afterwards sold out of the kingdom.

It is said that Francis I. of France, and the King of England were both anxious to engage the services of Raphael as Court painter, but they were equally unsuccessful. The artist painted for the French Monarch a Holy Family," and the beautiful picture of "St. Michael overcoming the Dragon," for which production he was most magnificently rewarded. One of Raphael's finest works was executed for the convent of St. Sixtus, at Piacenza -it is called the "Madonna di San

Sisto," and represents the infant Christ enthroned in the arms of the Virgin, St. Sixtus and St. Barbara kneeling in adoration on each side.

When Bramante died, in 1514, the office of Superintendent of the building of St. Peter's was rendered vacant, and consequently a competition for the appointment took place between the architects of Rome, among whom were Raphael, Fra Gioconda, and Peruzzi. In compliance with the last request of the dying Bramante, Leo installed Raphael in the vacant office, with Gioconda for his assistant.

The artist was very much interested in the discovery and preservation of all the art remains of antiquity. He formed a plan for excavating the whole of ancient Rome, for the purpose of disinterring all such treasures. He wished also to make an "accurate survey of the city, with representations of all the remains of ancient buildings, so as to obtain, from what might yet be seen, a complete draught or model of the whole as it existed in the most splendid era of its prosperity." A letter on this subject which he addressed to the reigning pontiff is still in existence. He commences:-"There are many persons, holy father, who estimating great things by their own narrow judgment, esteem the military exploits of the ancient Romans, and the skill which they have displayed in their buildings, so spacious and so richly ornamented, as rather fabulous than true. With me, however, it is widely different; for when I perceive in what yet remains of Rome the divinity of mind which the ancients possessed, it seems to me not unreasonable to conclude, that many things were to them easy, which to us appear impossible. Having therefore, under this conviction, always been studious of the remains of antiquity, and having with no small labour investigated, and accurately measured such as have occurred to me, and compared them with the writings of the best authors on this subject, I conceive that I have obtained some acquaintance with the architecture of the ancients. This acquisition, while it gives me great pleasure, has also affected me with no small concern, in observing the inanimate remains as it were of this noble city, the queen of the universe, thus lacerated and dispersed. As there is a duty from every child towards his parents and country,

S

But the

so I find myself called upon to exert posal serves, however, to show in what what little ability I possess, in perpe-high estimation he was held. tuating somewhat of the image, or life so bright and beautiful was not rather the shadow, of that which is, destined to prove of long duration. in fact, the universal country of all Christians, and at one time was so elevated and so powerful that mankind began to believe that it was raised beyond the efforts of fortune, and destined to perpetual duration. Hence it would seem that Time, envious of the glory of mortals, but not fully confiding in his own strengh had combined with fortune, and with the profane and unsparing barbarians, that to his corroding file and consuming tooth they might add their destructive fury; and by fire, by sword, and every other mode of devastation might complete the ruin of Rome." The artist then proceeds to lament the indifference and neglect with which the modern Romans had treated these noble monuments of their former glory, suffering them to be left to ruin and decay, or even with sacrilegious hand, employing them in the construction of their dwellings. He adds-"It ought not, therefore, holy father, to be the last object of your attention, to take care that the little which now remains of this, the ancient mother of Italian glory and magnificence, be not, by means of the ignorant and the malicious, wholly extirpated and destroyed; but may be preserved as a testimony of the worth and excellence of those divine minds, by whose example we of the present day are incited to great and landable undertakings."

Raphael's last and greatest production was the grand picture of the "Transfiguration," which he undertook at the desire of the Cardinal de Medici, Archbishop of Narbonne. It was designed for the altar-piece of the Cathedral of Narbonne. At that time there were two parties in Rome, one in favour of Michael Angelo, and the other adhering to Raphael;-not that there was ever any open rivalry between these two great artists. The stern and haughty Florentine was still evidently anxious not to be outdone. He, therefore, employed a Venetian painter, named Sebastian del Piombo, to invest his own energetic designs with the graces of attractive and brilliant colouring. Whilst Raphael was engaged upon the "Transfiguration," Sebastian commenced his celebrated picture of the "Raising of Lazarus," for which it was generally understood that Buonaroti not only supplied the cartoon, but sketched some of the figures upon the panel. The rival pictures were afterwards exhibited together in the chambers of the Consistory, and although the work of the Venetian obtained due praise the palm was unanimously awarded to that of Raphael.

Raphael was justly distinguished for the excellence of his portraits, which were, of course, earnestly sought after. Among the most striking are those of Bindo Altoviti, of Joanna of Aragon, of Leo X., with the Cardinals Rossi, and Giulio de Medici, and the picture of "La Fornarina," supposed to be the portrait of a beautiful Roman girl, to whom the artist was attached.

At this period we behold Raphael at the very summit of his greatness and felicity, living in the midst of splendour and of luxury; the companion and the friend of princes; beloved by his disciples, esteemed and admired by all. The Cardinal Bibbiena offered him his niece in marriage, with a rich dowry; but the lady's death took place before the completion of the arrangements. It does not appear that the artist was at all desirous of this marriage; the pro

This chef d'oeuvre is divided into two parts. The lower represents a demoniac brought for cure to the Redeemer's dis ciples, by his distressed friends. The upper portion displays Mount Tabor; and the transfigured Christ above, bright with ideal grace, and divine in majesty, Moses and Elias on each side, and the. three disciples prostrate on the ground, shading their eyes from the dazzling light of the ineffable glory. But before the artist had quite completed this dream of beauty, death intervened, and Raffaello Sanzio, the world-renowned,

il divin pittore," died on the anniversary of his birth-day, Good Friday, 1520, at the comparatively early age of thirty. seven years. During his illness, the Pope had sent to his residence daily, with the kindest inquiries; and he joined in the universal sorrow, when it was announced that the beloved artist was no more. The mortal remains of Raphael were laid in state, in his studio, beneath his last glorious work; and hither came crowds of rich and poor, the haughty noble and the loving disciple,