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RAPHAEL OF URBINO, Painter and Architect (1483-1520)

THE liberality with which Heaven now and again unites in one person the inexhaustible riches of its treasures and all those graces and rare gifts which are usually shared among many over a long period is seen in Raphael Sanzio of Urbino, who was as excellent as gracious, and endowed with a natural modesty and goodness sometimes seen in those who possess to an unusual degree a humane and gentle nature adorned with affability and good-fellowship, and he always showed himself sweet and pleasant with persons of every degree and in all circumstances. Thus, Nature created Michelangelo Buonarroti to excel and conquer in art, but Raphael to excel in art and in manners also. Most artists have hitherto displayed something of folly and savagery, which, in addition to rendering them eccentric and fantastical, has also displayed itself in the darkness of vice and not in the splendor of those virtues which render men immortal. In Raphael, on the other hand, the rarest gifts were combined with such grace, diligence, beauty, modesty, and good character that they would have sufficed to cover the ugliest vice and the worst blemishes. We may indeed say that those who possess such gifts as Raphael are not mere men, but rather mortal gods, and that those who by their works leave an honored name among us on the roll of fame may hope to receive a fitting reward in heaven for their labors and their merits.

Raphael was born at Urbino, a most important city of Italy, in 1483, on Good Friday, at three in the morning, of Giovanni de' Santi, a painter of no great merit, but of good intelligence and well able to show his son the right way, a favor which bad fortune had not granted to himself in his youth. Giovanni, knowing how important it was for the child, whom he called Raphael as a good augury, being his only son, to have his mother's milk and not that of a nurse, wished her to suckle it, so that the child might see the ways of his equals in his tender years rather than the rough manners of clowns and people of low condition. When the boy was grown, Giovanni began to teach him painting, finding him much inclined to that art and of great intelligence. Thus Raphael, before many years and while still a child, greatly assisted his father in the numerous works which he did in the state of Urbino. At last, this good and loving father perceived that his son could learn little more from him, and determined to put him with Pietro Perugino, who, as I have already said, occupied the first place among the painters of the time.

When Pietro had seen Raphael's method of drawing and his fine manners and behavior, he formed an opinion of him that was amply justified by time. It is well known that while Raphael was studying Pietro's style, he imitated him so exactly in everything that his portraits cannot be distinguished from those of his master, nor indeed can other things, as we see in some figures done in oils on a panel in S. Francesco at Perugia for Madonna Maddalena degli Oddi. It represents an Assumption, Jesus Christ crowning the Virgin in heaven, while the twelve Apostles

about the tomb are contemplating the celestial glory. The predella contains three scenes: the Annunciation, the Magi adoring Christ, and the Presentation in the Temple. This work is most carefully finished, and anyone not skilled in style would take it to be by the hand of Pietro, though there is no doubt that it is by Raphael. After this Pietro returned on some business to Florence, and Raphael left Perugia, going with some friends to Citta di Castello. Here he did a panel in S. Agostino in that style, and a Crucifixion in S. Domenico, which, if not signed with Raphael's name, would be taken by everyone to be a work of Perugino. In S. Francesco in the same city , he also did a Marriage of the Virgin; which shows that Raphael was progressing in skill, refining upon the style of Pietro and surpassing it. This work contains a temple drawn in perspective, so charmingly that it is a wonder to see how he confronted the difficulties of this task. Raphael had thus acquired a great reputation in this style when the library of the Duomo at Siena was allotted by Pope Pius II to Pinturicchio. As he was a friend of Raphael, and knew him to be an admirable draughtsman, he brought him to Siena, where Raphael drew some of the cartoons for that work. He did not finish it because his love for art drew him to Florence, for he heard great things from some painters of Siena of a cartoon done by Leonardo da Vinci in the Pope's Hall at Florence of a fine group of horses, to be put in the hall of the palace, and also of some nudes of even greater excellence done by Michelangelo in competition with Leonardo. This excited so strong a desire in Raphael that he put aside his work and all thought of his personal advantage, for excellence in art always attracted him.

Arrived in Florence, he was no less delighted with the city than with the works of art there, which he thought divine, and he determined to live there for some time. Having struck up a friendship with Ridolfo Ghirlandaio, Aristotele S. Gallo, and other young painters, he was well received, especially by Taddeo Taddei, who was always inviting him to his house and table, being one who loved the society of men of ability. Raphael, who was courtesy itself, in order not to be surpassed in kindness, did two pictures for him in a transitional style between the early manner of Pietro and of the other which he learned afterwards, and which was much better, as I shall relate.

This excellent artist studied the old paintings of Masaccio at Florence, and the works of Leonardo and Michelangelo which he saw induced him to study hard and brought about an extraordinary improvement in his art and style. While at Florence Raphael became very friendly with Fri Bartolommeo of S. Marco, whose coloring pleased him greatly, arid this he tried to imitate. On his part he taught the good father the methods of perspective, which he had previously neglected. In the midst of this intimacy, Raphael was recalled to Perugia, where he began by finishing the work for Atalanta Baglioni, for which he had prepared the cartoon at Florence, as I have said.

On returning to Florence after completing this work, Raphael was commissioned by the Dei, citizens there, to paint a picture for the chapel of their altar in S. Spirito. He

began this and made good progress with the outline. Meanwhile he did a picture to send to Siena, which at his departure he left to Ridolfo del Ghirlandaio to finish some blue drapery in it. This was because Bramante, who was in the service of Julius II, wrote to him on account of a slight relationship, and because they were of the same country, saying that he had induced the Pope to have certain apartments done, and that Raphael might have a chance of showing his powers there. This pleased Raphael so that he left his works at Florence and the picture of the Dei unfinished and went to Rome.

Arrived there, Raphael found a great part of the chambers of the palace already painted, and the whole being done by several masters. Thus, Piero della Francesca had finished one scene, Luca da Cortona had completed a wall, while Don Pietro della Gatta, abbot of S. Clcmente, Arezzo, had begun some things. Bramantino da Milano also had painted several figures, mostly portraits, and considered very fine. Raphael received a hearty welcome from Pope Julius, and in the chamber of the Segnatura he painted the theologians reconciling Philosophy and Astrology with Theology, including portraits of all the wise men of the world in disputation. Some astrologers there have drawn figures of their science and various characters on tablets, carried by angels to the Evangelists, who explain them. Among these is Diogenes with a pensive air, lying on the steps, a figure admirable for its beauty and the disordered drapery. There also are Aristotle and Plato, with the Ethics and Timaeus respectively, and a group of philosophers in a ring about them. Indescribably fine are those astrologers and geometricians drawing figures and characters with their sextants. Among them is a youth of remarkable beauty with his arms spread in astonishment and head bent. This is a portrait of Federigo II, Duke of Mantua, who was then in Rome. Another figure bends towards the ground, holding a pair of compasses in his hand and turning them on a board. This is said to be a life-like portrait of Bramante the architect. The next figure, with his back turned and a globe in his hand, is a portrait of Zoroaster. Beside him is Raphael himself, drawn with the help of a mirror. He is a very modest looking young man, of graceful and pleasant mien, wearing a black cap on his head. The beauty and excellence of the heads of the Evangelists are inexpressible, as he has given them an air of attention and carefulness which is most natural, especially in those who are writing. Behind St. Matthew, as he is copying the characters from tablets, held by an angel, is an old man with paper on his knees copying what Matthew dictates. As he stands in that uncomfortable position, he seems to move his lips and head to follow the pen. The minor considerations, which are numerous, are well thought out, and the composition of the entire scene, which is admirably portioned out, show Raphael's determination to hold the field, without a rival, against all who wielded the brush. He further adorned this work with a perspective and many figures, so delicately and finely finished that Pope Julius caused all the other works of

the other masters, both old and new, to be destroyed, that Raphael alone might have the glory of replacing what had been done.