Artist Biographies. Raphael

COPYRIGH T, x 8 77,

OSGOOD c o. BY J A M E S R .

A ll Rights Rese r ved .

s H W UNIVE RSITY Pus : JO N ILSON SO N, CA M BRIDGE . F C E P R E A .

THE object of this work is to pl a ce b e fore th e peo

le i of th e r e a te s t of t li i t s p a b ography g I a an pa n er , at

on ce ut ti t a n d i s i . Th e l s t a hen c, compac , nexpen ve a two requis ites are in th e provin ce of th e publis hers ; a n d in order to approximate to th e ﬁrs t th e author

l a n s tl A ll th d has labored ong d earne y. e recor ed

’ facts of th e artis t s pers onal a n d profes s ional life have

s e t f t wit s m of th e uts id in ﬂu here been or h, h o e o e e n ce s which combined to s hape h is cours e a n d indi

t th e li s for th e d v l m t of h is ius ca e ne e e op en gen .

M of h is f m us i tu s v l s d s i d any a o p c re ha e a o been e cr be , with a s much of detail a s would interes t th e general reader ; a n d their oftentimes s ingular his tories are s e t f t i ﬂ a n d wit ut dl or h br e y ho nee es s words . S tudents of th e his tory of a r t wh o wis h to read a n d ponder over long dis cus s ions on minor p oints of

’ R l s lif wh o th e s i l a n d s m aphae e, or enjoy ngu ar o e tim s mus i t i s of F a n d G iti s e a ng heor e rench erman cr c , c a n ﬁn d s atis faction in th e numerous heavy tomes a n d E 4 PRE FA C . manifold volumes wherein thes e s ubjects have been

- Th e s t i in ﬁn ite s ima lly wire drawn . pre en work a ms a t

i i th e s ults of s u tr s i s it ut g v ng re ch con over e , w ho a i paragraph of padd ng. It is almos t needles s to s a y that th e chief authority

’ “ on which this biography res ts is Pas s avant s Ra

” ’ h a e l of U i in P ul L i s di i wit ! p rb no ( a acro x e t on, h re

is i l t s ulis d a t P is in 1 8 60 in two v ona no e , p b he ar ,

Wit t is a r t- l s s i I th volumes). h h c a c have compared e biographies of Raphael which have been written by

V s i ua tr e mér e de ui Von Wolz o e n C l s a ar , Q Q ncy, g , har e

Bl C l s Cl t C. P . L d a n d t s . anc, har e emen , an on, o her For Italian a r t-his tory a t that epoch I have cons ul ted

L z i Kul E s tl k L d C w a n d C l an , g er, a a e, ayar , ro e ava

s ll Worn um s i i S ds a n d s ca e e, , Ro n , ymon , Jame on.

’ Gruye r s voluminous works on th e Madonnas a n d th e fr es cos of Raphael have als o been us eful ; with th e

li t l s of T i H a rve s H d Bu « Ita an rave a ne, are, J , ea , rck

dt Hi W ir r l d Fa h olt &c . a n d D is ha , l ar , aagen, , ; enn

’ ” ’ ” s Du s f i t o U a n d s s Le o X. oun ke rb no, Ro coe

M. F. S WE E TSE R. T CON ENTS .

CHA PTE R I .

- 1 483 1 495. n on

a rb in . Birth of Ra ha E a rl Giova n n S n ti. U o p el . y h i Pe rugia . Th e Umb ria n Sc ool. Pe rug n o.

CHA PTE R II.

1 495- 1 504 ’ W — i E a rl rks. A t C de l Ra pha e l in Pe rugin o s Studio. y o tta Ca s ” n te ll o . A t Sie n a . Lo Sp osa liz io. H o ors a t Urbin o.

CHA PTE R III.

- 1 504 1 508 . ’ — Ra ph a e l s Life a n d Works a t Fl or e n ce , fr om 1 504 to 1 508 . E x — curs ion s to P e rugia , Bologn a , a n d Urb in a The Summon s to Rome

CH A PTE R IV.

- 1 508 1 5 1 3 .

l 1 t 1 1 — Ra ph a e a t Rome fr om 50 8 o 5 3, un de r Julius I I. Th e Va tiua

r n h F e scos. In ﬂue ce of Mic a e l A n ge lo. La Forn a rin a 0

CHA PTE R V.

1 - 1 5 3 1 5 1 4.

’ Th e A cce s sion of Le o X. Ra ph a e l s Pa la ce a n d his F rie n ds . - — ’ Pa in tin gs in 1 5 1 3 1 4. A ppoin te d A rchite ct of St. Pe te r s. 6 CON TE N TS .

CHA PTE R VI .

1 1 - 1 5 4 5 16 . — ’ — Th e Va tica n De cora tion s Th e Sta n z a de ll In ce n dio. Th e

Loggie a n d th e Ta p e s tr ie s . A r chite ctura l Works a n d Dra w ’ in gs . Ra pha e l s Pup ils

CHA PTE R VII .

- 1 5 1 6 1 5 1 8 . PA GE

’ 1 6 1 1 a n d 1 1 8 . Th e M a don n a s a t Ra pha e l s Pa in tin gs in 1 5 , 5 7, 5 n n Th i Flore n ce . Th e Sistin e M a do a . e Chig Fr es cos

CH A PTE R VIII .

1 - 1 5 8 1 5 20.

’ H is e rson a l A e a ra n ce a n d Sur Ra ph a e l s La s t Two Ye a rs . P pp ” a r oun din gs Th e Tra n sﬁgura tion . De a th of R pha el .

His Ra n k a mon g A rtis ts 0

LISt OI Picture s 0

In de x 0 I L U S T R A T I N L O S .

RA PHA E L .

PORTRA IT OF RA PHA E L

ST. CE CILIA

ST. MA RGA RE T

S ISTINE MA DONNA

LE ONA RD O D A

MONNA LISA

TH E BA TTLE OF TH E STA NDA RD

TH E VIRGIN OF TH E ROCKS

PORTRA IT OF LE ONA RDO DA VINCI

M I CH A E L A N GE L O.

PORTRA IT OF M ICHA E L A NGE LO

CA RTOON OF PISA

TH E LA ST JUDGME NT

TH E TH RE E FA TE S

R A P H A E L .

A P E CH T R I .

— i — Bir th o Ra h a el — E a r l Studis Giova n n i Sa n ti . Urb n o. f p . y o .

rui Th e Umb ri a n S h ool Peruin o Pe g a . c . g .

A PHA E L SA NZ IO DA RBINO P of R U , the rince

P t of ainters , was born in the ci y Urbino , on the

f f S Sa n 6 th of A 1 8 . o pril , 4 3 The amily anti, or

in zio, was an old and respectable one, which i cluded several artists and ecclesiast cs, and had recently moved to Urbino from the outlying cas tle

of S hamlet Colbordolo . The young Giovanni anti “ devoted h Imse lf to what he called the admirable

of of art painting, and in due time became one

of the best the Umbrian artists, nearly equal to

P P A w of erugino or inturicchio . bout t enty his f pictures still remain , showing eeble color and

t rigid ou lines, combined with correct drawing

of and simplicity conception . Giovanni was also

a n d e of two a poet , wrote a quaint pic hundred 8 RA PH A E L .

‘ - n t fo ter z o; r zma and twe y ur pages in , now in the V n Lb ra e e th e of atica i ry, c l brating martial deeds

‘ Duke Z tt in the Of U b o .

‘ ' ' ' ‘ Th é n titéil city of Raphael stand s on a bold iff u cl over the brawling Meta rus , surrounded by

of A the sharp peaks the central pennines , and

V Of A d commanding a distant iew the blue riatic .

It is n ow a half-forgotten town of eight thousand f inhabitants, presenting more orcibly the appear ance of fallen grandeur than any town in Italy 3 and is still remarkable for the extraordinary f beauty of its youths . In the ﬁ teenth century it “ ” was A called the Italian thens, and stood pre

n t emi en in religion , culture , and chivalry, under the patriarchal government of Federigo da Mon

f l - te e tr o . , a valiant general and judicious art patron For fourteen years he kept twenty or thirty copy is ts at work transcribing Greek and Latin manu

On af scripts vellum, which were terwards bound in

On crimson velvet with silver Clasps . his return f P -V t rom the apal enetian wars , he built the mos

b e a utiﬁe d splendid palace in Italy, the city with u f gardens and stat ary, and surrounded himsel with artists and learned men . A mid the se glad activities of the liberal a rts ’ I H RA PH A E L S B R T PLA CE . 9

S n Giovanni a ti prospered amain, and soon mar

C of ried Magia iarla, the daughter a wealthy mer f T h . O c ant, with whom he lived in rare elicity this couple a child was born , to whom Giovanni

Of if f gave the name Raphael , as he oresaw his f glorious uture, while at the same time he declined to follow the prevalent Italian custom of p r ovid~

- for t ing a wet nurse him , desiring the mo her to f w nurse the child hersel . The house in hich Raphael was born is still reverently preserved

On as public property, and stands a steep hillside

- - up which the pack mules clamber, cat like, over

f of rugged stone steps . It contains a resco the

t S t f of Madonna, pain ed by an i, in which the ace

V of of the irgin is a portrait Magia, and that the f in ant Jesus represents the young Raphael . Gio

a n d of vanni Magia had three other children , all whom died young and in I 49 1 the mother hers elf d S f die also . even months later, Giovanni, eeling that his beloved boy needed a woman ’ s ministra

P th e « tions, married Bernardina di arte, gold

’ d of smith s aughter, a lady strong and determined character.

The young child grew up in the hillside home, under the tender care of his mother a n d th e tutel I O RA PH A E L .

' a e ‘Of hiS f wh o him f a ll n u g ather, g uarded rom worthy associations. He spent much time in the f w studio, and was amiliar ith the implements and l S terms of art from his ear iest childhood . everal c rude Umbrian paintings are claimed by tradition a s s his juvenile work , but their authenticity is

I 2 S denied by the best authorities . In 49 anti f C rescoed the Tiranni chapel, at agli, in his best

M a n te n e s ue A t wa s g q manner . this time the lad w ith him , perhaps as a humble assistant, and his portrait is recognized in the sweet face of one of f the angels in the resco . There is a tradition that Raphae l received his ﬁrst lessons in art from Luca Signorelli or Timo te o della Vite ; but Lanzi says that he wa s in

r C st ucted by Fra arnevale, the best painter then

e f in Urbino , whose pictures were c rtainly care ully studied both by Raphael and Br a ma n te u It is a V of lso reported that enturini, the tutor Michael A L ngel o, taught him the atin language and that

Pa cc iol o of Bramante , , and other members the galaxy of learned men then at the court of Duke

d of h is Gui obaldo, assisted in other branches education .

a S 1 w Giov nni anti died in 494, leaving his wido PE R UGIA .

Bernardina a n d his brother Don Bartol ommeo

S - - anti, a well to do ecclesiastic, to act as guar

f r dians o his orphaned boy. But Bernardina was a resolute woman , and Bartolommeo was a grasp

’ ing and Oﬁicious priest ; and they soon became engaged in sharp contentions about the manage

of S ment the anti estate . Raphael was neg l e c te d amid these domestic turmoils , until his

- S C well beloved uncle imone iarla, appreciating his genius , and deploring his unhappy situation, arranged that he should be sent away to pursue A f f his studies in art . ter a care ul consideration of of of L the advantages the schools eonardo ,

P wa s Bellini, Mantegna, Francia, and erugino, it

of l t decided to commit him to the care the at er.

f in There is a tradition that the painter, a ter

’ of t e specting several h lad s sketches , exclaimed, Le t him be my pupil : h e will soon become my ” master.

P e erugia, wher the young student remained for e Of ictur nearly nin years, is one the most p e of - of sque the renowned hill cities Italy . Its ponderous walls and gray E truscan bastion s

hill a r e d a crown a high green , and overtoppe by c u of o s a n d e Th e t l ster church t wer dom s . bat le 1 3 RA PHA E L . me a ts comman d a ma gn ificent view over th e va l le of e be d e of S l t t e . y h Ti r a n h whit cities po eto,

d a n d on th e ft a us . Ass isi, a n Foligno, al g lo y and

n f a f n i to o tere , Apen ines, rom R dico a the cl ud

l r i Th e piercin g Mon te Ca t o. e st ep and rocky

O o e streets pen n pav d squares, adorned with f ancient scul ptured ountains and papal statues, and ove rlooke d by rugged Gothic facades and

a ch r c ae o v st silent u he S, rich in medi val m numents

n Pre - A t a d Raphae lite paintings . a remote

d th e E n t of Pe rus ia perio trusca ci y stood here, a A Cms a r . n d was destroye d by ugustus , who re

t a n f placed i , by a Rom military colony, a terwards th e prey of th e Goths unde r Totila . In the

Middle Ages it wa s seize d by th e ferocious Bag.

f h e l it for s lioni amily, who d several generation , desol a ting th e Umbrian Campagna by fora ys f o - r m their grim lair. These lion hearts guarded the city while Raphael dwelt there ; and th e pub . i Of n r a oo th e l c squares te n with noble bl d , when

C f r riva l Oddi, hie tains were cut to pieces by thei

o a n pitiless f e s , d the cathedral was so stain ed

a s a n with ma s sa cre s, th at it w washed with wine d

r Of e re conse cra ted. Th e memo ies these terribl

thr e uh th e a of s o: conﬂicts, prolong ed g ye rs his I TH E UM B RIA N P A IN TE RS . 3

’ n of r jour , are preserved in certain Raphael s late paintings .

O n e of the strangest phenomena of the Middle

A ges wa s the growth and culmination of the Um « brian school of painting in the midst of these D scenes of rapine and carnage . rawing their

a f S n earliest inspir tion rom iena, the Umbria artists had pre s erved a quiet and contemplative

of f o f Spirituality manner, even in the ace the d popular Florentine realism, and had develope the expression of ardent religious aspirations a n d profound devotion . For centuries the earnest mountaineers had revered the memory of the S ” St. marvellous Francis, The eraphic, who was buried among them ; and from his sacred mausoleum at A ssi s i had emanated the mighty inﬂuence s which were manifested in the solemn tenderne ss and ec s tatic contemplations of myr ia ds of W t of disciples . i h the grim austerity its rugged heights and the sympathetic sweetness of its a n d w m c r e rich ﬂo ery valleys , the land see ed

d for t t ate mys ery, and was peopled wi h legend I s ol ated amon g th e glens of the cloudy A pennines a n d remote from the inﬂuences of the history and a r t of w f pagan or papal Rome , as ell as rom the 1 4 RA PH A E L . materialistic methods of the commercial cities of

S of the coast, the pirit the people was reﬂected by f their pietistic artists , who ormed what may be

' called the last group of purely Christian paint ers . The pictorial ﬂowering of this devout spirit

Bon ﬁ li S P appeared in g , anti, Francia, and eru

f a re gino, in pictures whose mechanical de ects counterbalanced by their evidence of religious enthusiasm .

P in 1 6 d erugino was born 44 , at the highlan

of C a P hamlet itt della ieve, and at an early age P was carried to erugia, where he studied art with

f th e a local painter. He a terwards entered Flor e n tin e s tudio of Ve r oc ch io Of Le o , in company ‘ i f nardo, and labored dil gently, in pain ul and abj ect poverty, until he became the most popular

of painter Italy, and Rome and Florence con

for A tended his presence . lthough exhibiting more artistic symmetry than the Older Umbrian

s f ff n f work , his ﬁgures are o ten sti and u grace ul ,

It and are painted in a hard and dry manner. has been said that Raphael ’ s Madonnas are beau

f of P o ti ul and gracious , but those erugino are inn

of P cent and saintly . The history erugino has “ b e e n called the sa ddest in the annals of Chri s

‘ 1 6 RA PHA E I

C A P E II H T R .

’ Ra ha el in Per uin o s Studio E l or e i p g . a r y W ks. A t Citta d l Ca s l ” te lo . A t Sie n a L o S o liz i . n i . p sa o H o ors a t Urb n o . m A b ition .

’ RA PH A E L e r P I ent ed erugino s studio late in 495 , m f and re ained there nearly nine years , con orming

s e of to the rigid di ciplin the master, and gaining

' a thorough knowledge Of the te cﬁmgue of his pro fe s s i n A m f - s o . mong his co rades and ellow pupil

’ e P LO S L In e n o r wer inturicchio, pagna, g g , Fer ari,

A lfa n i o n utiliz e d . s o rv and The master , his se ices

s W for on the con tantly increasing ork the churches,

’ and parts of Perugino s large altar-pieces are n ow

f ’ a ’ recognized as o his pupil s execution . Raph el s ” f n f a St C o s . opy the I nt Jesu and John , in dis

e Sa n temp r, on a gold background , is at the

Pietro Church in Perugia ; an d the large Res u r ” of Ch r iSt V wa s rection , now in the atican, also a “ A copy . The rchangels Michael and Raphael w o wn for s of a ere painted by his hand , the wing “ large Na tivity at Pavia 3 and we re removed to O S E A RL Y W RK . 1 7

P 1 w h e Na aris in 797, and a fter ards to t British

’ i l A fe w of h a l t t on a Ga llery . R ap e s studies a

e E d V this period a r now in nglan and at enice .

In 1 499 the young student wa s summoned to Urbino to mediate in a new and bitter qua rrel B between his . stepmother and the rapacious arto lomme o S e s anti . He soon quieted the dom tic

s l . r torm, and sett e d an annuity on the pe secuted f A u P . lady, a ter which he ret rned to erugia por trait painted about this time by Vite or Ghir l a n

P h e dajo, and now in the Borghese alace, shows .t f great physical beauty o the youth .

1 0 0 P n In the year 5 , while erugi o was at Flor C a d l C t ence , Raphael was called to itt e as ello,

for m t ou of where he sojourned some, ti e a the c rt

V th e of th e h a d itelli, head l eague which r e cently defeated the papal army and forced Urbino to r n s m its a o . captive Duke Her e he pa inte d a

c i n for a C u pro ess onal ban er the Trinit h rch, Show

St. S St n i f ing ebastian and . Roch k eel ng be ore

H t - s ide th e the oly Trini y, and , on the other y / C n A reator approachi g the sleepin g dam , and

E ve about to make . The proud little church still

e s ca ou c pr serve this nvas with j eal s care . A mor “ importa nt picture wa s Th e Coron a tion of St 8 I RA PHA E L.

N o n e ich las Tolentino, which remained i th A ugustinian Church for two hundred and eighty P P nine years, when it was purchased by ope ius VI . , and disappeared during the French invasion “ u ” of . C S Italy The ruciﬁxion , with Fo r aints,

for Ga va r n i f f was executed the amily, and a ter remaining for three centuries in the Dominican l C of C a hurch, passed through the galleries ardin

’ Fesch a n d Prince Canino to Lord Ward s c oll e c f tion . The works which the young artist le t at Citta del Castello are in the Peruginesque man

‘ I e r fe w of . , and possess but traits originality In the same year Raphael assisted his master f S C in the great rescoes in the ala del ambio,

of or municipal chamber commerce, a dusty old hall which is now Often reverently visited by art

r e r e pilgrims . These rich decorations included p s e n ta tion s of P V of the agan irtues , the Triumph N Religion , the ativity, and the Transﬁguration, attended by a confused company of saints and sibyls , prophets and philosophers . It is thought

d t h e that Raphael painte prophets and sibyls,

of and most the arabesques . A s Perugino declined under a faith blotted out

' n a n a n a d invention paralyzed , Raphael dva ced, I A 1 A T S E N . 9 slowly acquiring a deeper spirituality of character A h i a n d a closer ﬁdelity to nature . mong s pro ” duc ion s t S t at this ime were the olly Madonna, “ n ow at Berlin ; the Mary Magdalen and St. ” th e N t n C Catherine , in or humberla d ollection ; ” f A lfa n i r e and the beauti ul Madonna, recently moved from Perugia . These works were executed

’ n P u i er gino s studio , in the building which is still

f I 8 Via D No . care ully preserved at , eliziosa, near the city wall .

. In 1 5 0 2 Cardinal Piccolomini engaged Pintu ricc h io to adorn the library of the Siena Cathe dral with ten subjects from the life of [E neas f Sylvius Piccolomini . The ortunate artist induced Raphael to aid him with certain drawings for this important work, in connection with which he

’ of I 0 2 spent the summer 5 in Siena . Raphael s drawings for the first and fifth pictures are still T h e - V preserved . hero worshipping asari and several other authors credit the best coloring in these frescos to Raphael 3 but there is no s uffi cient reason for thus detracting from the merit of P is s the amiable inturicchio, whose work till f m for a ous its beauty and richness . In I 5 03 the young artis t exe cuted se veral in 20 RA PH A E L . te r e stin s - tu n th e m g ea el pic res, i cluding s all and

St e delicately drawn Madonna between . J ” M St. u rome and Francis, now in the Berlin “ ” C of V seum . The oronation the irgin was a large work in the Umbrian manner, though the f our angels around the Madonna, and the twelve

A ﬂowe r -ﬁll e d S postles at the tomb, how a marked C approach towards the later style . The orona tion was ordered by the L ady Maddalena degli

. Oddi 3 and was carried to France during the Na

ol e on ic n f p i vasion , and a terwards restored to the V “ S ff ” s atican . The ta a Madonna is an exqui ite l V i y ﬁnished circular picture , showing the irg n pensively walking in a rural springtime land s n n cape , with s owy mountains in the dista ce . It

S ff P P for 6 8 remained in the ta a alace, at erugia, 3

E of years, and was sold to the mperor Russia, in

1 8 1 for 7 , W b t hen a ou twenty years old, Raphael illus tr a te d his position and temptations in the picture

“ ’ of Th e D Knight s ream , now in the British

w - N . ational Gallery It sho s an armor clad youth,

e e i f of - sl p ng on his shield at the oot a laurel tree,

f m u of approached by two e ale ﬁg res, one whom ,

a n d r in vit gentle serious , bea s a book and sword, “ ” L O SP OSA LIZ I O. 2 1

of ing to the noble ambition study or arms , while f h im the other, beauti ul and brilliant, calls to the

of joys earthly luxury in the stately city beyond.

t of d b The small pic ure a young man , painte y

S - Mu Raphael , and now at the outh Kensington

e n t th e t seum , is supposed by some to repres ar ist

f a n d r of e r iOd himsel 3 an undoubted po trait this p ,

- f f O . by a ellow pupil , is now at x ord Tradition claims that about the same date Raphael painted “ ” A of for A of The doration the Magi, the bbey

t for Feren illo, which was purchased the Berlin

Museum for 3 but most critics refer this L work to O Spagna .

’ When the Urb in e s e lad entered Perugino s

t 1 s udio , in 495 , the master was engaged on a pic

' ' of S os a l zz zo E of V ture the p , or spousals the irgin, for the Cathedral of Perugia (and now in th e

of Caen Museum) . It was representative a scene f F10: S a n ctor um of th e rom the , or the Gospel N i ativ ty, then very popular in the Italian church .

’ On a ﬁn lly leaving his master s studio , the young artist w a s commissioned by the Franciscans of

' Citta del Castello to paint the same subj ect for

O their church 3 and he imitated the lder work, though with superior perspective, and more beauty 2 2 RA PH A E L . a n d 1 8 C L graciousness . In 79 ount ecchi of

Brescia, commanding a French brigade , with sword in hand compelled the magistrates of Perugia to present this picture to h lm 3 an d it is now the

f of chie ornament the Brera Gallery at Milan .

of It is well preserved , and is the best example

’ P r a . t Raph el s ﬁrst or e uginesque style The S .

S a t f me ebastian, Bergamo , dates rom the sa period .

th e a utumn \ ‘ of 1 0 In 5 4, Raphael returned to d his native city, which had recently passe through f t u a series o disas ers . The vipero s Cae sar Borgia

‘ h a d d e fr a ud e d Duke Guidobal do of his army and u A treasury, and then occ pied his territories . year later the Borgia Pope and his evil son were poisoned 3 and the Ur b in e s e expelled the alien D f troops, and welcomed back their uke rom his

V e ex ile at enice . Guidobaldo was appoint d

Standard- Bearer Of the Holy Church 3 and under

of the benign rule its learned and pious prince,

d th e t f the golden age returne to ci y, and the ore

of most scholars Italy entered her gates . The

D E r - uchess lisabetta and othe high born dames, wh o stimulated a pure chival ry among the deni

n of th e z e s the palace , took a warm interest in

2 4 RA PHA E L .

tu . A s f to me w s s dies the ather, who was dear , a f of a. ull good qualities , so the son is m odest young man of distinguished manners 3 and thus ff I bear him an a ection on every account, and f wish that he should attain per ection . This is why I recommend him as earnestly as possible to your highness, with an entreaty that it may

for of please you, love me , to show him help and

O protection on every pportunity . I shall regard f f as rendered to mysel , and as an agreeable proo of f r riendship to me, all the se vices and kindness f that he may receive rom your lordship .

d f ou From her who commen s hersel to y , and

O f is willing to render any good ﬁces in return . “ OA NNA E LTRA D E RUVE RE J F ,

' D a rker : o S cm a n d P r ectzr a o Rome f , qf r f .

URBINO, Oct. 1 , FL RE N 2 O CE . 5

P E CHA T R III .

’ Ra ha e l s Life a n d Works a t F l or en ce from 1 0 to 1 08 p , 5 4 5 .

ur s i s t e ruia Bolo n a n d Urb in o Th Summon s E x c on o P g , g a , . e

to Rome .

NE W f O f A li e now pened be ore the young artist,

t of L f in the peerless Ci y the ilies . In the ull

Of C - ﬂush the dawning inque cento, and sur rounded by the rich art-treasures of the Tuscan f capital , he daily drank in resh inspirations .

A of mong the jewels Florence, even at that early

e of day, were the marvellous bronze gat s Ghi b e iti of D , the marbles and bronzes onatello and

Ve r oc chio of L , the enamels . uca della Robbia,

e of the monum nts the Medici, the vast cathedral

o f of t dome Brunelleschi, the campanile Giot o ,

of and the paintings Masaccio, Ghirlandajo , A f ngelico , and the ancient schools,with the resh w of A L th e onders ngelo and eonardo . For f a rtist it was indeed a city o enchantment. The brave Ol d Gon f aloniere was then engaged in u of f r c rbingthe restless agitators Florence, a te z 6 RA PHA E L . the decline of her strange Ch r istoc r a tic couse c ration, and appears to have been too busy to give much care to the ambitious youth from A beyond the pennines . But Raphael was r e c e ive d with warm hospitality by the wealthy

f n of e Taddeo Taddei, the rie d the learn d Bem b 0 Sa n 3 and became intimate with Gallo , Ghir l a n d a o W j , and other artists . ith these associates he studied the frescos of Masaccio in the Ca r

C f for mine hurch, which were amous grand com f position and so t coloring. Masaccio was the ﬁrst Florentine who abandoned the formal method of

f s f Giotto , and became eminent, ﬁ ty year be ore , for of of love nature, richness coloring, and

of subtlety expression . He is said to have held f w Giotto by one hand, and reached or ard to

’ Our Raphael with the other . artist s sketch O f f b ok contains numerous pictures rom li e, made

of at this period , and imitations the great Flor L e n tin e . artists He did not meet eonardo, though under the profound inﬂuence of his works

s he ensibly modiﬁed his Umbrian manner, and a dopted the serene smile which afterwards graced f f the aces o his Madonnas . During the winter he painted for his frie n d 2 FL ORE N TIN E M A D ONN A S . 7

L N f orenzo asi, the amous Madonna della Gran ” D n ow th e P P uca, in itti alace , which is so called

th e f t - D from act hat the Grand uke Ferdinand III . of Tuscany carried it with him on all his jour

f r neys , and prayed be ore it eve y night and morn in n g . The Madonna is depicted in a flowi g blue f mantle , looking down at the in ant Jesus ; and the firmly- outlined figures stand out in impressive “ M th e C distinctness . The adonna with hil ” th e dren is a round picture on wood, showing V C St. irgin and hild , with John and another

f D of in ant, in a rich landscape . The ukes Ter r a n ova t t N 1 8 re ained his at aples until 5 4, when the Ki n g of Prussia bought it for th e Berlin Mu seum for From th e same period dates the small and ﬁn e ly-pre s erved Madonna which

Lord Cowper purchased and transferred to his gal ~

Pe n sh a n a r f lery at g , near Hert ord 3 the portrait

0 1: P Young Riccio , in the Munich inakothek 3 and “ ” th e f of L S large resco The ast upper, which wa s d i scovered in 1 8 45 in th e refectory o f the

F o t f C f S . O lorentine onvent no rio, and is attrib ute d to Raphael by many connoisseurs .

E I 0 f of arly in 5 5 , a ter several months earnest labor, Raphael made a journey to Urbino, and 8 1 RA PH A E L . f m P ro thence to erugia, where he ﬁnished the al - fOr St tar piece which he had previously begun . A ’ f nthony s Convent . It was composed o a Ma C d f St. donna and hil , with the in ant John and four other saints ; a lunette repre s enting the

E t t ve - t in ernal Fa her ; and ﬁ predella pic ures ,

n C C cludi g hrist in the Garden , hrist Bearing the

P i t St C e S . A ross , the let , . Francis , and nthony P of . adua The main picture is at Madrid , and

E s L a the predellas are in nglish gallerie . Ma donna dei A n s ide i was painted for the A n s id e i

C is P hapel , and now at Blenheim alace , in ﬁne

r . is prese vation It in the Florentine manner, and includes a portrait of the venerable Bishop

N of l - icholas de Bari . Two its prede la pictures L are in Italy, and the third is at ansdowne

O w u I 0 House . ther orks exec ted in 5 5 were the ” Pa x V s of C obi , a small picture the risen hrist, now in the Brescia Gallery ; and a fre s co of a

’ d L u Of chil s head on a brick , which King o is

for r e Bavaria bought a thousand scudi , and

r moved to the Munich Pinakothek . These we e f f Ca r ollowed by his irst mural painting, in the me lite C of Sa n S th e hurch evero, representing H t oly Trini y, surrounded by angels , and blessing L 2 L E ON A RD O A N D A N GE O. 9

a n d a group of sainted Carmelites . The grace

of A e dignity ngelico appear in this picture , whos arrangement was repeated in the famous Vatican “ ” fresco Of Theology. Impatien t to return to the prouder possibilities

f of t and reer criticisms the great Tuscan ci y, and weary of the empty adulation Of the provin c ia l f A artists , he postponed orders rom talanta

Of L ft Baglione and the nuns Monte uce , and le

a n f S his work at S Severo hal ﬁnished . everal t P u years la er it was completed by er gino .

On 1 0 6 his arrival at Florence , early in 5 , he found a new revelation of the power and p os s ib il ities of art in the two great cartoons then on e x h i

’ “ b ition L V s of , eonardo da inci The Battle the S d ” A ’ tan ard , and Michael ngelo s The Bathing

S d dis a ol iers These works , which have now p

e a r e d of r p , marked the culmination the rival y w bet een the two great masters , and were de signed for the decoration of the Palazzo Ve c we chio . They sho d to the student of the tender ness and sweetness of the Umbrian school new

of t realms art, in which the canvas should exhibi

of f m scenes vigorous and heroic li e, and the i ten s ity of the highest passions should be depicted 0 3 RA PH A E L .

But b in glowing colors . , though permeated y f these new thoughts , the artist re used to abando n the traditions of the last of the schools of Chris

f e tian art, and would not throw himsel into th strong current of paganized s e ntiment which wa s

n risi g so rapidly about him . He r e -entered the coterie of artists and patri e iaus which assembled a t leisure hours in the

’ of d A n ol o house Baccio g , the architect who was

n e w d then supervising so many buil ings . Here

S L C M a a n i ~ he met ansovino, ippi, ronaca , j , Gra

Sa n a n d A nacci, the Galli , the great ngelo , and listened with deep interest to their discussions

h is about th e principles of art . Through inti

t macy wi h certain wealthy merchants and nobles,

s d for he ecured several or ers portraits, the best of which were tho s e of the art-patron A ngelo

D a n d d a f oni, Ma dalen his wi e . These are now

P P S w in the itti alace , and ho warm coloring and f care ul ﬁnish , combined with poor drawing and timid execution . Raphael next painted the celebrated “ Ma ” “ C V of . donna del ardellino, or irgin the Gold ” - for f N ﬁnch, as a wedding present his riend asi ,

’ f A n l V n a req uenter of g o o s symposia . The irgi

2 3 RA PHA E L . to the art- loving and mun iﬁc e n t King Louis 0f Bavaria for E arly in 1 5 0 6 Raphael journeyed Northward over the A pennines to the famous Old city of B0‘ logna, where he became intimate with Francesco “ of of Francia, one the most sincerely pious “ Christian painters 3 and painted The Nativity for f o . Bentivoglio , the lord the city The busy artist next visited his native city, which had just f been scourged by the plague . The peace ul and equitable reign of Guidobaldo had nevertheless

of increased the prosperity Urbino , and enriched f its palaces and people , so that his was the ore most among the minor Italian courts , whether in

n A learni g or morals , gayety or splendor . mong A d D th e its members were n rea oria, Genoese

’ A dmiral ; the exiled Giuliano de Medici,brother

of P Le o . O r e os o ope X 3 the soldier ttaviano F g ,

D of prospective uke Genoa ; Federigo Fregoso , afterwards Cardinal -A rchbishop of Salerno 3 th e

C of C of ount anossa, some time Bishop Bayeux ; C C the valiant and stainless ount astiglione, whom

V of th e . b e s t Charles . called one knights in the w ” ' f l orld 3 the wise Bibiena, a terwards a cardina

l of and the ight Rome 3 and the scholar Bembo, B I A T UR N O. 33

h L e o C e w o became cardinal under X . astiglion described the manners of the palace in Il Libro C ” C u ’ del ortigiano (The o rtier s Book) , several passages of which imply that Raphael w a s fre

th e quently present, and was highly regarded, at d of iscussions the literati .

V of E A t Henry III . ngland had sent the bbo of d t Glastonbury to Guidobal o, wi h the order and insignia of the Garter 3 and the Duke showed his gratitude by despatching Castiglione with rich presents to the King, who received him at L A f ondon with great pomp . mong the gi ts was

of e a small picture St. Georg and the f by Raphael , which a terwards passed through

in strange adventures , and is now the Hermitage P P f St. o alace at etersburg, hung in the manner

ex 720m an , over a perpetually burning lamp .

During this visit Raphael painted the long- lost

of D th e portraits Guidobaldo and his uchess ,

- “ heir apparent, Bembo, and others 3 and The

' ” w St Holy Family ith the Beardless . Joseph , P now at the Hermitage alace . His ﬁrst classic “ of e theme , and one happy augury, was The Thre ” s Graces , which was uggested by an antique

’ S in L W group at iena, and is now ord ard s col 34 RA PHA E L .

i Th e O lect on . small rleans Madonna, lately bought by the Duke of A umale for

e is a pleasing work in the Florentin manner, with certain details afterwards added by David Te

of niers . The most interesting picture this period wa s of f a portrait the artist himsel , now in the

Ufﬁz i f Gallery, showing a pale and gentle ace, f of ull nobility and earnestness , with brown eyes and hair, and a slender ﬁgure clad in plain black . E astlake thinks that he remained at Urbino until

P wh o autumn , when he met ope Julius II . , came to the city with twenty - two cardinals and a bril

of - a t- liant retinue halberdiers and men arms . Raphael set out on his third journey to Flor

1 0 6 ence late in 5 , and paused on the way over

A of Va llom the mountains, at the Tuscan bbey

of brosa, where he painted portraits Blasio and

Baldassare, eminent Benedictine monks . These A pictures are now at the Florentine cademy, and Show a spirited execution and severe correctness of drawing . O n r e aching Florence he painted the valuable ” of Ca n i ia n i Holy Family the g Family, a pyr a mid a l c of Vl r m C group omposed the g and hild ,

E t S t. w St. S . ith lizabeth and John kneeling, and L MM E FRA B A R TO O O. 3 5

- Joseph leaning on a s taff . It was presented to

’ th e Princess d e Medici on her marriage with th e u A E P t is a t . lector ala ine, and now M nich con temporary work at Madrid shows the Virgin hold ing Jesus on a lamb , in a rich landscape 3 and “ t o t is th e St ano her charming work f his season .

C of th e N t f atherine a ional Gallery, whose ace is

d w t s r ra iant i h sacred peace and deep con e vation .

’ A mong Raphael s friends was th e Dominican “ of monk Fra Bartolommeo , the painter devo

f of a r t tion, who had renounced the pro ession

of f S at the instance his riend avonarola, burning

is f h pictures on the great pyre o earthly vanities . A f f ’ t d ter the re ormer s mar yr om , he entered the

C of Sa n f onvent Marco , and gave himsel up to

h e t I 0 or t severest austeri ies . In 5 6 his superior

lered him to resume his painting 3 but he labored in a feeble and perfunctory manner until he met

Urb in e s e s h im f the arti t, who gave a resh intel ‘ l e c tua . ln inspiration In return , Bartolommeo structed his friend in new modes of vivid coloring

of t and rich arrangements drapery, and taugh him h is s ys tem of grouping based on geometrical principles .

E arly in I 5 0 7 th e artist ﬁnished his studies for 6 3 RA P H A E L .

A n th e the picture ordered by tala ta Baglioni,

of Grifon n e tto grieving mother the murdered , but rej ected them at last for an adaptation of

’ M a n te n a s g composition on the same subj ect . “ The result was the majestic E ntombment Of ” Ch i is t fullt of u , cons mmate skill and anatomical

h f of knowledge, whic is now the chie ornament

P for the Borghese alace , and has been studied

’ centuries . This was in the artist s second man “ - ner, in which he painted the long lost Madon ” - P of na with the ink, which several charming

Copies remain 3 and the more spiritual Madonna ” C N Pe n sh a n a r della asa icolini, which is now at g

E 1 0 m d in ngland . The year 5 7 was ainly evoted to perfecting the study of the Florentine masters .

th e f of 1 0 8 t In ﬁrst hal 5 , Raphael execu ed ” V w A of The irgin ith Jesus sleep , which one or two replicas remain 3 and the Madonna di Cas a ” C s Mu olonna, an unﬁni hed work in the Berlin “ ” La d h e of s . e t eum Belle Jar ini re , gem the

L of th e Of ouvre, and one noblest achievements human art, came next in order, and was the last of t s u his impor ant Tu can pict res . It portrays

V w r s t the irgin in a ﬂo e y land cape , looking wi h intense maternal tenderness into the celestial M A D ONNA S . 3 7 eyes of the Child Jesus 3 and is pre-eminent for t f ar less and idyllic grace and per ect harmony. Cleme nt gives the origin of its name in a tradi t t t t f ﬂ owe r - ion ha the model was a beau i ul girl , to whom the painter was much attached . “ The Madonna del Baldacchino was one of

t a n d in ~ his latest transi ional works , shows the

ﬂue n c e of V Fra Bartolommeo . The irgin is on a high and canopied throne , pressing to her heart

C St. P the Holy hild, who looks down on eter

t. e and S Bruno and other saints . It was order d

u s N De i f b t ot . by the amily, was n ﬁni hed apo

1 8 it leon carried it away in 79 , and gave to P Brussels , whence it was restored to the itti

P f 1 8 1 A f un ~ alace a ter 5 . nother beauti ul but ﬁnished Madonna was presented by Pope Clem

E s E ent XI . to the mpre s lizabeth, and was E included in the great sterhazy Gallery, which was bought by Hungary in 1 8 65 for the city of P esth .

A 1 0 8 In pril , 5 , Raphael wrote to his uncle

S C s of imone iarla, giving some detail his pros

e D of pe ts, and asking that the new uke Urbino d f might sen him a letter to the Gon aloniere , by whose aid he could secure work in the Palaz 8 H 3 RA P A E L .

V h z o ecchio . It seems t at the young aspira nt wished to measure strength with Leonardo and

A of r ngelo, on the very ground their t iumphs .

A t this time Raphael wa s twenty-ﬁ ve years old f th r ouh out l ta l , and his ame had spread g y. L f t A eonardo was in his ﬁ tie h year, and ngelo in his thirty- third 3 a n d both stood at the zenith of

f t e . s o their ame . For hr e years Raphael had our n e d j in Florence , where he had executed

of about thirty pictures , some which were among his noblest works . Meanwhile he had passed

in through a marvellous change , as the solemn ﬂue n c e s of the Fran ciscan pietists had given place to the hurrying con ﬂicts of the city Of

S d s m s ti avonarola and the Me ici . The piritual y c is m a n d sweet unearthly devoutness delineated

s by the artist in his earlier year , had yielded to a brilliant realism and a fa scinating display o f

o f color . The practical theories the Tuscan val

t us f leys , p eopled wi h b y myriads , oremost in arts of t luxury and cul ure , and exulting in civic

d un splen or, had triumphed over the solemn w d of t orl liness the Umbrian mountains, s anding A in th e dim light which emanated from ssisi .

’ The pallid and nun-like oval faces of Raphael s

RA PH A E L .

a were assimilated by his glowing spirit, to appe r f f in the great works o the uture . Perhaps the Duke of Urbino had used his inﬂuence for Raphael at the Vatican itself 3 per haps the Pope had seen and admired his works while at Urbino 3 perhaps his kinsman Bramante , the papal architect, invited him to better his f t or unes under his own patronage . He was summoned to Rome about the middle of the year

1 0 8 e a o 5 , and immediately departed with gr t j y to th e E n C ter al ity. T I . HE E V L P OPE S . 4

A P E IV CH T R .

a h el a t Rome from 1 08 to 1 1 un der ulius I I — Th e R p a 5 5 3 , J .

ti n r os In ﬂue n Mich a e l A n l L a F or . Va ca F e s c . ce of ge o .

n a n n a .

IN order to comprehend the state of aff airs in

a t d Rome , this perio , one must review its then

’ e c A t of r ent history . the time Raphael s birth ,

Iti l f f f wa s y was ree rom oreign invaders , and u r led by several petty princes and despots , over whom the Papacy strove to exercise a central P S IV power . The evil and simoniac ope ixtus .

C fa m was then in power, and crushed the olonna V ily, intrigued against the Medici, betrayed enice , f laid Florence under interdict, and ounded the S P Inquisition in pain . The next ope , Innocent V d f . o III , reduced the standar morals so low that for many months at a time there was an average of ft t ﬁ een assassinations daily in the ci y. He was S A VI succeeded by the panish Borgia, lexander . ,

b ut a vigorous ruler and able ﬁnancier, ﬁlled with

e r ﬁdie s O t d crimes, p , and bsceni ies, and controlle 2 4 RA PH A E L . b u Va n n oz z a y his mistresses, Gi lia Farnese and .

t Cae His illegi imate son, sar Borgia, became the

of t t scourge I aly, ﬁlling the land wi h carnage,

. a n d d poisoning the nobles and prelates , aban on

. a n d ing the cities to rapine France , Germany, Spain invaded the peninsula with ferocious armies ; Savonarola thundered from ~ Florence

Of St P a n d against the desecrated chair . eter , the endless feuds of the Colo nna and Ors i ni families reduced the Roman Campagn a to a

S of ilent desolation . The land the Madonna had become an A celdama .

A t of the same time , in the quickening intel f w P lectual li e which war al ays brings , the agan revival was in full force at the brilliant little capitals of the principalities ; and both art and literature advanced toward their culmination .

A n L C gelo , eonardo, Raphael, Titian, orreggio ,

A de l S r e Bartolommeo , ndrea arto, were the splendent names of this period of a r t 3 and th e republic of letters was honored by the genius of A Sa n n a z a r o P riosto , , Bembo, olitian , and

A cquaviva . f A f of P . C ter the brie reign ius III , ardinal

v tO r della Ro ere succeeded the papal tiara , unde I H P OPE yUL US . 43

u O 1 e of IL 0 . th name Juli s , in ctober, 5 3 He wa s s l n then advanced in years , but posse sed domitable energy and courage and considerable military skill . His court was the most brilliant

E . in urope , and he rigidly puriﬁed its morals Many eminent scholars were attracted to settle near the Vatican by his wise and judicious pat r n a r um o ge of a t and letters . His absorbing b ition was for the glory and unity of Italy 3 and all political and military enterprises were devoted

f i f u a t to ree ng her shores rom invaders . J lius tacked Venice with the ban of the Church and the armie s of the League of Cambrai 3 and then

Opposed France Wi th th e decrees of the Fifth

Lateran Council a n d the battalions of the Holy

L r o kn i h l eague . The armo f the g t iy commander was more congenial to this heroic soul than the

of robes the ecclesiastic . The artistic enterprises which the active mind of Julius conceived were on a magniﬁcent scale, P ’ and included the reconstruction of St. eter s

C th e of for hurch , erection a costly mausoleum

f of A himsel , and the enlargement the postolic Palace of the Vatican to the dimensions of a

a f th e city under sing le roo . It was to be made 44 RA PH A E L .

of C n heart and centre hristendom , and to contai n ot only the apartments of the Pope and his

of suite nobles and prelates , ambassadors and

O f of courtiers , but also the ﬁces and archives the

d of a ministration the universal church . The Pope received Raphael with cordiality upon his arrival at Rome , and commissioned him to fresco the hall of th e j udicial assembly called “ La of f Segnatura . This was one the our

L 6 S ta n z a halls, or , which had already been deco

P a n d rated by erugino, Francesca, others . But the Pope was so as tonished and pleased with

’ Raphael s paintings in the ﬁrst hall , that he

A h e of O d commanded destruction the l er works, in order that his new favorite might decorate the

t w entire suite . The artis , ho ever, preserved cer tain small works by Sodoma 3 and his reverence for his Old master led to the retention of an e n P tire vault which had been painted by erugino . The Stanza della Segnatura was frescoed in

’ 1 5 0 8 - 1 1 by the master s own hand ; the Stanza

E 1 1 2—1 S di liodoro in 5 4, mostly by him 3 the tan

’ z a 1 1 - 1 dell Incendio in 5 4 7, by his pupils, and from his designs ; and the Sala di Costantino in 1 1 —2 f 5 9 4 by his disciples , ollowing his draw VA TI CA N FRE S COS . 45

n i gs . For the work in the ﬁrst three halls , he

- f received thirty six hundred ducats . The res

w d in 1 2 th e cos ere seriously injure 5 7, during sack of Rome by the imperial troops under th e

wh e rf Constable Bourbon , the rude soldiery built

- r V A their camp ﬁ e s in the atican . bout the year “ 1 0 0 C 7 they were restored by arlo Maratti, the f m ” last o the Ro ans, but are now much the worse for age . For the d ecoration of the august chamber of

S of the egnatura, the artist sought conceptions f lo ty dignity, and resolved to enter a new domain in art, by portraying in colors such imposing alle goric a l themes as Dante and Petrarch had a l d ready develope in ﬂowing verse . The designs

of d were broa expanse , and ingeniously adapted _ tO the Procrustean requirements of the various

W i of walls . hile the originat on and execution the work is due to the daring conception of the t painter, it is also evident tha the extraordinary d isplay of erudition in the details of the Segna tura frescos is a mirror of the best thought of the contemporary papal court . The artist is know n to h ave Obtained advice and information on cer ta in points from learned scholars and prelates 6 4 RA PHA E L . then in the city 3 a n d he also wrote for counsel to

f A wh o a t of his riend riosto , was then the court

d of Ferrara, engage in the composition the great ” of O n ur ios o epic rla do F . The ﬁrst of the Segnatura frescos wa s executed

“ ” 1 0 8 — in 5 9, and is called Theology, or The ” “ D of S C ebate the Holy acrament, or The onvo

of S two t r e r e cation aints It is in sec ions, p C h senting the hurch triump ant in glory, and the

Church militant on earth . In the upper part is A the lmighty Father, surrounded by a countless host Of singing an gels 3 and below Him is the e n C V St throned hrist, with the irgin and . John the

f- l of e Baptist . From these a hal circ e gloriﬁ d prophets and apostles, sitting upon the clouds ,

t of extends out to the limi s the picture . Below th e throne is the descending Dove of the. Holy S pirit, ﬂanked by cherubim bearing the gospels . The lower section is occupied by a semicircular

of line prelates , with an altar in the centre on

E ts S . e which the Holy ucharist is exposed . J

A A four rome, mbrose, ugustine, and Gregory, the

L f n r atin athers , are nearest the altar, beari g thei chief works 3 and in the groups beyond are a fe w D S laymen and schismatics , with ante , avonarola ,

8 4 RA PH A E L .

of hall , and is surmounted by a sublime ﬁgure .

P r -cr oet y , laurel owned , with soaring wings and

- b A star strewn ro es . Here pollo is seen playing

of on a violin , under the laurels on the banks th e N Hippocrene , and surrounded by the ine f . On Muses the le t Homer is singing, and

Dante and Virgil are in conversation 3 and in

f S of the oreground, near appho Mytilene , the

A n A a P three lyric poets, acreon , lc us, and etrarch ,

t of O n are alking with Corinna Thebes . the P O right are indar, Horace , and vid, with a group of medie val Italian poets . “ Jurisprudence ” is represented on the fourth f . On side, over and around a window the le t is E f the mperor Justinian, with his jurists , ounding the laws of the State by giving the Codex and the

P Tr e b on ia n On P andects to . the right is ope f f G . o . regory IX , with the eatures Julius II , sur

e rounded by cardinals , and stablishing the laws of the Church by p l a cmg the Decretals 1n th e f hands o an advocate .

Some of the lunettes and ceiling-frescos were

S u t of done by pupils , and how m ch inequali y execution ; while the smaller historical scenes

o P de ll a Va a bel w were painted by erino g , and add VA TI CA N F RE S COS . 49 greatly to the general effect of elegance and

of Chi unity. They are in the new process aro

t of . scuro, an inven ion Raphael The leading merits of this great illuminated epic of humanity are purity and truth 3 and they show forth th e

of L t un a f inﬂuences eonardo and Bar olommeo , f fe c te d by the exaggerated grandeur o A ngelo . Ruskin says that in this hall the artist wrote

' u M me TARP] U /za r r zrz of pon the walls the , , p , the

r f A n f A t o C t . d hristiani y rom that spot, and f of rom that hour, the intellect and the art Italy ” date their degradation . But the mind which remains unprejudiced by . th e quaint conceits of

A nglican mediae valism must rejoice at the eman~ c ip a tion of Raphael and his successors from the formal traditions of the epoch of th e dawn of

th e of art, and their advance into realms higher

St of beauty . anding like a rock in the midst the downward current Of ' ma te rialis m a n d pseudo

f d th e archaism in art, Raphael re use to yield to f of i I s ascinations these corrupt ng nﬂuence , and contented himself with a close and proﬁtable study of u t p re antiquity, wi hout sinking into base imita

- tion and servility . He blent the art ideals of the Church with the triumphant theories of the Greek 0 A E L 5 R PH A .

“ t sculptors , and thus conveyed the golden reas ure of the Christian spirit into the silver vessel of ” antiquity . S f Un til the egnatura rescos were ﬁnished ,

e A Micha l ngelo was engaged , in jealous seclusion, on the world-renowned frescos of the Sistine C hapel , which were not seen by his rival until

1 1 2 A they were publicly unveiled in 5 . ngelo f was not riendly to his young competitor, and accused him of conspiring with Bramante to have him removed from the execution of the Sistine “ f s W of resco , adding that hatever he knew art f he had learned rom me . Though annoyed by

S this jealousy, which the great Tuscan also howed

of to many other artists, Raphael spoke highly his masterly works , which were revealing new

for L r possibilities art. anzi likens the rival y of Raphael a n d A ngelo to that between Zeuxis a n d

Pa r r h a s ius e , in its b neﬁcial results in stimulating ff both artists to their highest e orts . The Floren

s V C w tine biographer , asari and ondivi , were to ns

of A o s men ngelo , and hence ar se their di parage

f a Nor did t ment o his riv l . heir victim have a chance to repel -their attacks ; for when their V ’ a is . books ppeared, he was in h grave asari s 1 VA S A RI . 5 w w a s 1 0 d th e i of ork published in 5 5 , un er t tle “ L of th e E P S u The ives Most minent ainters, c lp d A a n . t t tors , rchitects It was wri ten in a quain

t wa s s and attrac ive manner, but ba ed mainly on

u t s hearsay, and bristles with inacc rate s atement d u and apocryphal anec otes . R skin bluntly says that “ Vasari is an ass with precious things in his — panniers but you must not ask his Opinion on any matter .

D s of f uring the ﬁr t years his li e at Rome,

Raphael lived in th e four- story house which still

No 1 2 Via St C . remains at . 4 oronari , near the A d ngelo Bridge . Here he probably receive his

Old P wh o f master erugino, was at Rome rom

1 0 I 1 2 f n P 5 9 to 5 , and his early rie ds inturicchio 8 S . S I 0 and ignorelli In eptember, 5 , he wrote a f w letter to his riend Francia, ackno ledging the

t of h im receip his portrait, and sending a draw ” of Prae s e io f ing the p , with a promise to orward

S of his own portrait in return . He poke his

f of intense activity, and alluded to the act his po s sessing pupils even at that early date . Soon afterwards Francia wrote in his h e nor a resound “ d n s ing lau atory son et, addressed To the Zeuxi ” of ur a o d y. 2 5 RA PH A E L .

1 1 0 A of In 5 Marc ntonio Raimondi, Bologna,

f of u the most amous engraver ancient times , j o r n e e d d y to Rome , and became closely connecte

s for with Raphael , who a sisted him several years .

’ of He engraved many the artist s best works, not f th e b ut f rom ﬁnished paintings , rom the drawings , f aided by the master himsel . By this means the ideas of the new school were Spread fa r and wide over E urope 3 and th e joint efforts of Raphael and Marc A ntonio raised the art of engraving to an excellence which in some respects has never

s w Ba been surpassed . The plate ere given to v — for iera, the color grinder the studio, who derived f m A V great proﬁts ro their printing . gostino ene C ziano , Hugo da arpi , Marco da Ravenna, and ’ w other artists also engraved Raphael s orks , which were thus preserved in many duplicates .

u of Diis s e ldorf Prof. M ller has recently proved

' ezn tr e - m w ur Diir e r that Raphael was a p g , like , and once made a remarkable plate of a Madonna .

D of S uring the three years the egnatura works, th e master probably designed and left in various

s of stage progress numerous pictures , which he completed in rapid succession after that absorb

E f c a e ing task was done . ight o these in ho t PI CTURE S OF 15 1 1 . 53

“ s 1 1 1 The A n t compositions were ﬁni hed in 5 . n un cia tion for A n was ordered gamem on Grassi,

of . Bologna, and has long since disappeared The u magniﬁcent portrait of Pope Juli s II . re presents

f Old t a mild and thought ul ecclesiastic, wi h bright

a r d Is eyes and a long white h e . It now in the

P P Ufﬁz i itti alace, with copies in the Tribune

of and elsewhere . The portrait the chivalrous young Marquis of Mantua is now at Ch a r l c ote f P n W . o ark, ear arwick The portrait Raphael

' m h a s dis a e a r e d b ut of ade at this time pp , that his mistress has been in the Barberini Palace

1 6 2 Sh e f f- of since 4 . is a beauti ul hal draped girl

w of passionate expression , ith a circlet gold and f jewels on her hair, and a bracelet on her le t arm

' h a ﬂ r zrz r A bearing t e name R p a el U é a . nother

L - portrait , now in the ouvre , showing a blue eyed

- and light haired youth , is sometimes incorrectly “ A a d called his own likeness . The lb Ma onna, f d a very beauti ul round picture on woo , and a f t avorite subject wi h copyists , was purchased

E E of for in ngland, by the mperor Russia,

‘ and is now in the Hermitage Pa l “ ” A ldob r a n din i in ace . The Madonna, now

L for ﬂ e sh - s a n d ondon , is notable its clear tint . 5 4 RA PHA E L . for th ; quiet coloring of the drapery a n d l a nd

e scap .

’ The Madonnas of Raphael s Roman per i od a r e grander and stronger than those which h e i produced at Florence . He had now under h s

O r of bse vation the stately women Trastevere, who still claim to be the only descendants of the a n

f ih cient Romans , and the magniﬁcently ormed

of L habitants the Campagna . anzi and Mengs

of attribute the grandeur his third period, not to f h adaptations rom ot er artists , nor yet to a close

of study nature , but rather to his earnest contem

l a tion of e p the antique , whose ideals at length b

of t e came his inspiration . The gaunt ﬁgures h ‘ Umbrian mountaineers were replaced by the no

of — ble dignity Greek heroes and demi gods . He was not satisﬁed with the study of the antique

in b ut sculptures Rome alone , employed artists to Copy the classical remains at Pozzuoli and other

of Italian towns, and even obtained transcripts

f - u for certain o the art treas res of Greece . He bade his pupils to make exact delineatio n s of

of t fu the actualities their beau i l Italian models, “ establishing as a maxim that We must not rep .

r e n a s b e . es nt thi gs as they are, but they should

6 P 5 RA H A E L .

to P N r d carried aris by apoleon , but was eturne

f 1 8 1 t of to Italy a ter 5 , toge her with scores other plundered pictures . A bout this time the wealthy A gosti no Chigi

n f of a was leadi g the li e a M ecenas , assembling u f f at his sumpt ous easts the chie nobles , artists ,

of ' and literati Rome, together with the queenly f f Imperia and other air women . Chigi was rom

S - iena , and was the greatest ship owner in Italy, besides being the Operator of lucrative salt and

th e P alum mines in apal States . He was highly

u a n d e o f r t L . o honored by J lius II . X his probi y and patriotism ; and became also a patron of

- r e literature , establishing a printing press to d P “ pro uce the Greek classics . eruzzi, the Ra ” h a e l of t of p archi ecture , had built him one the

in handsomest Renaissance villas in Rome , the

of ancient gardens Geta, on the Tiber ; and it f S had been rescoed by ebastiano , Razzi, and

A s 1 1 0 Romano . early as 5 , Raphael designed for C e e x e higi two classic goblets , which wer c ute d in bronze by Cesarino . The noble patron a fterwards commissioned him to erect and deco rate chapels in th e churches of Santa Maria del

Po S n l P forme r polo and a ta Maria de la ace , the E L E S S T I A N G Q UE UD E S . 5 ? of wa s P P 1 0 which built by ope aschal 99,

- of of N on the spectre haunted site the grave ero . I t contained the magniﬁcent mausoleums of several patrician cardinals 3 and Chigi Ordered Raphael to build a Similar sepulchre -chapel for d w him . This work was carrie on slo ly and

ﬁtfull t th e of y, un il deaths both artist and patron , d which occurre in the same month . Raphael

:l r e w several of the cartoons ; and the mosaics for C the dome , showing the reator and the

1 1 6 heavenly luminaries, were executed in 5 . It is incontestable that Raph ael was strongly

’ inﬂuenced by the sight of A ngelo s Sistine fres

l n cos . He commenced similar works , ﬁelds P S new to his pencil 3 and the rophets and ibyls ,

of C S and the decorations the higi chapel , how

ff of f S of the e ects this resh impulse . everal his drawings from the Sistine frescos are still pre

’ S h A served , and how t at he had begun on ngelo s works th e same process of an alysis and appro p r ia tion which he had previously applied to th ose

of L . Masaccio, Bartolommeo, and eonardo

1 1 2 Gor iz ius of L 3 In 5 John uxembourg, f of t riend and patron the Roman ar ists, placed

of V n St A a marble group the irgi and . nna 8 RA 5 PH A E L .

C of St A in the hurch . ugustine , and orde red Raphael to execute a fresco of the Prophet Isaiah V . f s above it asari says that a ter ﬁlling thi order, A ’ S f the artist saw ngelo s istine rescos , and was so displeased at th e weakness of h is work that he erased it , and repainted the subject in the

A n e le s ue A grander g q manner. nother tradition s Gor iz ius c ays that was dissatisﬁed with the pri e , A and asked ngelo about it, who examined the “ work, and replied The knee alone is worth the price demanded .

L 1 1 2 ater in 5 , the master painted the portrait of a f beauti ul and richly attired woman , which is

n now in the Tribune at Flore ce . It was long supposed to represent La Fornarina 3 but l a ter critics demonstrate that it is some o ther lady 3 either the admirable Vittoria Colonna or the im

A t p r ovis a tr ic e Beatrice of Ferrara . no her pic

’ ture of great merit is that of Raphael s friend

A ltoviti - of w t - Bindo , a blue eyed youth t en y two , f for of amous his beauty, and the owner palaces in Rome and Florence . This is the ﬁnest piece of coloring that the master ever accomplished 3

’ and Bo ttari calls it equal to Titian s richest work .

' A mong the portraits sometimes attributed to I D OUB TP UL P CTURE S . 59

’ s of C Raphael Roman period, are those ardinal P S t C d i ucci , now in co land ; ar inal Borg a , at the

s P C d d e l t f Borghe e alace 3 ar inal Mon e , ormerly

r C P a t in the Fesch Galle y ; ardinal asserino , t t P . d P s S . Naples ; and Car inal olu , at e ersburg

Pas savant gives a list of over one hundred and ﬁfty doub tful pictures which have been attrib ute d s of to the great master, ome which are c s s own opie by his pupil , retouched by his hand, or possibly genuine production s which are with

“ St L P out deﬁnite authentication . . uke ainting ” V w a s the irgin , probably designed and partly

A d of executed by Raphael . It is at the ca emy L St. uke, at Rome , and shows the kneeling

Ra apostle depicting the heavenly vision, with h l f p a e himsel Observing his work . The marvellous variety and noble dignity of his Madonn a s appear s till further at this time in the Madonna of the Bridgewater (E llesmere)

r f for f Galle y, which is amous its beauti ul model

“ ” w t St n ling . The Madonna i h Jesus andi g, in

’ L d t - Coutts s t a y Burde t collec ion , is now much “ w of Na injured and orn . The Holy Family

’ ples is a well - preserved specimen of the artist s “ s L a best work, and is called by the Italian , 6 c RA PH A E L .

a A M donna del Divino more . The design for “ ’ f The Madonna dell Impannata, a beauti ul d d omestic scene , which was probably execute by u f Gi lio Romano , dates rom this period . It was

f d A ltoviti for painted on an order rom Bin o , a

of present to the city Florence, and is now in the

P t P l it i a ace . The history of the domestic and private life of f Raphael is wrapped in obscurity, or con used with conﬂicting traditions . There is no doubt

a of R th t during the early part his sojourn at ome, he was passionately in love with a certain fair f Margherita . to whom he addressed three grace ul V sonnets . asari says that Raphael remained

n attached to her until he died . Certain Germa scholars have maintained that he had an intrigue

t ’ f wi h a potter s daughter in Urbino , who a ter

M is s e r in i wards dwelt with him at Rome . But h gives the statement of a M S . discovered by t e

’ A C of t a bbe ancellieri, that she was the daughter b a ke r f for in Trastevere , amous her beauty, even in

- of f that dwelling place physical per ection , so that th e youths often watched her from over the wall

’ of f her ather s garden . There Raphael ﬁrst saw h e r e Sh e f a , whil was bathing her delicate eet in LA F ORN A RI 6 NA . A fountain 3 and when he was made acquainted with

f f t s of her, and ound that the per ec ion her mind

of equalled the charms her person , he became

f f t completely in atuated, and hence or h knew peace

he r L a F or n a r in only in presence . The name a l e fe r s of f to the occupation her ather, the baker

of b but is late origin . It should e noticed that Passavant throws doubts on the

’ of e - f a n d r e whole story Raphael s lov li e , Hare pudia te s it utterly .

The gossiping Vasari says that when th e master was painting the ﬁrst ﬂoor of the Chigi

P in a alace, he was so much occupied with his mo rata that the work of decoration received but t C scant atten ion . higi at last began to despair of in its accomplishment, and, order to keep the

of artist on the scene his labors , he persuaded the lady to take up her abode in the palace, in rooms near the new paintings . When Raphael u was thus accommodated, and co ld have her all f day on the plat orm by his side , the work went on f bravely, and reached a success ul termination . “ The old chronicler adds , quaintly enough , He

ff t was much disposed to the gentler a ec ions , and

of for m h e delighted in the society women, who 6 2 H A E L RA P .

f of Bu was ever ready to per orm acts service . t he also permitted himself to be devoted som e

t of f what too earnes ly to the pleasures li e, and in this respect was perhaps more than duly c on s id f m ” e red and indulged by his riends and ad irers .

of 1 1 2— 1 th e In the winter 5 3 , master painted f “ P ” E the amous Madonna del esce , which ast lake assigns as the closing work of his secon d

a n d Via r dot c o- manner, ranks as equal with the S istine Madonna, and even as surpassing that

in of masterpiece the expression its ﬁgures . It

V a represents the ideally lovely irgin , seated on C throne , and holding the radiant hild , who rests ff S n t. His hand o an open book pro ered by Jerome .

n To these approaches Tobit, who is led by an a gel ,

’ and comes to implore a cure for his father s blind

del P er m of f to ness . The name ( the Fish) re ers

’ Tob it s the ﬁsh which Tobit carries . prayer

of u alludes to the destination the pict re , which

for f N was a amous chapel at aples, containing t A the cruciﬁx that once Spoke to S . Thomas qui n a s f , and resorted to by persons a ﬂicted with dis

of A eases the eyes . nother allusion was to the fact that the Church had recently acknowledged the canonicalness of the apocryphal Book or

6 4 RA PH A E L .

l mural painting, and gives its name to the ha l .

It represents the angels attacking H e liodor us as he was removing the widows ’ fund from the Tem

_ th e of S A f ple, at order King eleucus . great ear falls on the assembled multitude as th e robber falls before the lightning- like rush of the golden

n f armored a gels , while his minions ﬂy rom the

f On ~ swi t celestial vengeance . one side is an ana ch r on is tic of P group composed ope Julius II . and f of h our assistants, two w om are Giulio Romano A and Marc ntonio . This vigorous composition

’ illustrates the principle of God s protection of

a n d in te r o the Church against its enemies , the p

’ lated papal group refers to Julius s expulsion of

f f of his enemies rom Rome . The picture is ull f inimitable expression and dramatic ervor, and shows not only the richness of the new Venetian

f of coloring, but also the reedom the picturesque

of f school, with its disregard details and its skil ul

of of handling broad masses light and shade . The Miracle of Bolsena is the second great f resco, and portrays the tradition that in the year

1 2 64 a Bohemian priest of Bolsena doubted th e

of doctrine transubstantiation , but was convinced by th e miraculous ﬂowing of blood from th e D E A TH OF ULI US 1 6 7 1 . 5

wa Host while he was celebrating mass . This s

f f of the origin o the estival Corpus Christi . The chief features of this grand picture are the terri~

ﬁe d f of and repentant ace the priest, the agitated

s Of surprise and varied ge tures the crowd , and

h e of Ria r io t blazing wrath Cardinal . Herein a lso are shown the two great antagonistic forces of r P the sixteenth centu y, in the richly arrayed ope

of h l e and Cardinals, and a group honest and p g d matic Swiss guardsmen below . The dea ly battle between Italian priests and German soldiers , which has not yet ceased, was then about to begin .

W of hen Raphael is spoken as a colorist, the pictures of the E xpulsion of H e liodorus and the f f Mass o Bolsena are usually re erred to . They are called the most richly colored frescos in the f world, and have been pre erred to the best works A of Titian or ndrea . The other pictures in this

ff r e ime de hall illustrate a di erent g , and are scribed farther on .

On 2 2d of 1 1 the February, 5 3 , Rome was plunged into profound grief by the death of Pope

s r Juliu II . His last words c ystallized the grand

of f f idea his long and heroic li e , Far rom Italy

’ fa r f i n . all the French, rom Italy all the barbar a s 66 RA PH A E L

P V CHA TE R .

’ A c e ssion of L X Ra h a e l s Pa la a n d h is F ri Th e c e o . p ce en ds .

- ’ Pa in tin s in 1 1 1 . A oin ted A r chite ct of St. Pe ter s g 5 3 4 pp .

Ma ria da Bib ien a .

TH E wise and courageous Julius II . was suc

de d L e o wh c e e X. o by the brilliant and lavish ,

of f strove to advance the interests his amily, and to make Rome the literary and artistic capi

of f tal Christendom . He had long been amous as a generous patron of letters ; and his palace on the Piazza Navona had been the rendezvous of of authors . He received the tiara at the age

- h e 1 h of 1 1 L e o t t . thirty nine , on 9 March , 5 3 was of the very flower of the illustrious Medici f e ur amily, and exhibited all their refin d taste , bane manners , liberality, and erudition . His extravagant mun ific e n c e towards the disciples of the higher arts led him to give over one hun dred thousand ducats a year in presents 3 and his table consumed half the revenues of Romagna .

The easy-goi n g epicureanism of this dull - eyed TH E P A A N RE VI VA 6 G L . 7 and thick-lipped Primate was a representative

of Ne o - P production the agan Renaissance, in which Latinity was more impor tant than ortho doxy ; the immortality of the soul was h eld a s a n open question 3 and sermon-writers substituted the

f of name o Jupiter for Jehovah . The revival the study of clas s ic art a n d literature pas sed into a f E per ect delirium among all classes . ven the evil traits of the ancients were admired and

d a n d th e of S A e copie , puerilities the ilver g were

for u of held up imitation . The st dy the Pagan

s w f of philosopher , hich had become the li e Flor c ut t w a s t t ine socie y, ransplan ed to Rome ; and the Pontiff himself headed the r e -action from the dry sub tleties of the schoolmen to the enli vening

s Ne o - P P theorie of the latonists . rophets and

s d d sibyls, apo tles and emigo s , were given equal

th e O O rank in new system , and lympus and livet fu d were con sed and unite . A mong the chief writers of this barocco age were the graceful Venetian idyllist Na va ge r o a n d L t t i P Giovio of the a in his or an aulo , both w r l hom were bb n in the same year as Raphae . The Latin language was also used in Vida ’ s epic

“ ” ’ ” of C Politia n s S ae a n d the hristiad, ylv 68 RA P H A E L .

’ “ N S a dol e to s L a oc oOn utricia, the austere ,

’ ’ Ca s ti lion e s i Pa n ta n us s c c g eleg es, amorous

’ lo ue f a n i io s o S C s s . g outhern Italy, and orations “ ” Sa n n a z a r o added to his elegies the A rcadia ” a n d P V w the artus irginis , to hich he devoted tw f enty years . Bembo wrote delicious odes a ter th e of C n manner atullus , and amatory so gs 3 and F r a s c a tor o treated didactically of unspeakable themes . This strange literary amalgam soon

of passed into a condition unworthy license , so that eve n E rasmus stigmatized its followers as ” apes of Cicero . If the literature and politics of the day were

of corrupt and heathen , the vices society were w orse than heathen . The simoniac cardinals vied in lewdness ; and the Pope derived amuse f ment rom seeing monks tossed in a blanket, and

f - of of the oot races naked men . The treasures th e C u for f r , h rch we e wasted banquets pagan ures cos, classic villas , and other vanities . Thro gh this city of luxury and lust wan dered the fair f haired pilgrims rom Germany and Britain, who h a il come on religious j ourneys to the capital of

C s . W O hri tendom ith wide eyes they bserved, and with grieving h earts they returned to the 6 RA P H A E L A N D LE O X . 9

N E for orth , and prepared Transalpine urope the

f ff t me n P l Re ormation . Yet di eren saw the apa L L ’ court in varying lights . uther called eo s ” Rome the sink of all abominations 3 but E ras “ mus praised the light and freedom of that ” radiant city . Raphael was favorably received by the n e w P V ope, and was retained at his labors in the ati

of can . He was already intimate with several

of f the leaders the court, and was con ormed to

h e f of f t . dri t Roman sentiment Yet, rom the n of t ature his occupations, he was in lit le danger of being swept into the full current Of the general decadence .

1 1 - - In 5 3 the well beloved monk artist, Fra Bar tol omme o d , came to Rome , and was bewildere with the grand works of Michael A ngelo and his f d wa s t ormer comra e . He hospi ably received by

h o n Rap ael , to whom he had l ng bee dear . Bar

tol omme o s of S . P t began the painting t e er and St. P w P aul , hich are now in the Q uirinal alace, but, being unfavorably affected by the air of the Ca m

d Fl n . W pagna, he returne to ore ce hile Raphael

’ f d s was ﬁnishing his riend s pictures, two car inal v s tu of th e d o f isited the dio, and complained re ness ° 7 RA PHA E L .

’ the apostles faces . To whom Raphael made a n “ : swer You need not be surprised . I have given them that color after much deliberation 3 for it A P may well be supposed that the postles St. eter P and St. aul must blush as deeply in heaven as C in these pictures , on seeing the hurch governed ” by such men as you . In 1 5 1 3 Leonardo j ourneyed from Milan to

Rome, with ﬁve pupils, and was gladly received f by Raphael , who had learned so much rom his works ; but Michael A ngelo showed a marked

t t - hos ili y to the new comer, and embarrassed him f so seriously that he le t Rome the next year . The poet A riosto was also now in the E ternal

C of P ff ity, seeking the patronage the new onti ,

f me t f e and doubtless o ten his old riend Rapha l . But Le o gave him only smooth words and compli m f ents 3 and the disappointed poet le t the city, n ever to return . Raphael tried in vain to bring to Rome his early companio n s and dear friends A lfa n i a n d

th e f Ghirlandajo . The latter shared anatical patrio tism of the Florentines to such an extent that he could not be persuaded to go bey ond sight of the cathedral - dome 3 and A lfa n i was n ow l hampered by fami y cares .

2 7 RA PH A E L .

cu f b e character se red him many warm riends, sides the admirers who were drawn to the light of A n his genius . mo g these were the learned

C C of and benevolent ount astiglione, the envoy

for d two Urbino, whom he painte portraits , show ing a reﬁned face with blue eyes and a manly

P Pa . A beard nother was ietro Bembo, the pal

e t f of secretary, who r s ored the care ul ﬁnish Ital ian literature, but was less scrupulous in private

f of A a li e . To this circle comrades belonged ndre

Na va e r o V a n d g , the enetian historian, the poet

Be a z z a n o of w r on e , both hom were port ayed on

of r e picture by Raphael , which a good copy

D P Sa n n a z a r o Ne a mains in the oria alace . , the

of politan poet, was a member the coterie 3 and

Te b a ld e o also , the Ferrarese poet . The master

d of 1 1 6 of ma e a portrait the latter in 5 , which “ Bembo wrote to Cardinal Bib l e n a : Raphael has just painted our friend Te b a lde o with so much truth that he himself does not more resem« ” f n ble himsel than this painti g resembles him . O ther intimates of this group were Baldassare

P s of th e C Br a n c on io Turini, re ident hancery 3 and

’ “ A for Th e dall quila, whom Raphael painted ” V for e isitation, and made plans a palace opposit " ” A TTI LA RE P ULS E D . 73

’ n e of f P . O St. eter s his chie protectors was the

’ l d A s of Cardinal Giu io de Me ici , rchbi hop Flor f ence, a serious and earnest prelate , who a ter P VII wards became ope Clement . For him the ” “ t master painted The Transﬁgura ion , and de

V a . signed the illa Madam , on Monte Mario

A d Ria rio mong the other car inals , Bibiena and

s of were the best patron the artist . The friendship and mutual assistance of Ra l ph a e and Bramante remained unbroken . The latter wrote and presented to h is illustrious p r otégé a treatise on the proportions of men and horses ; and , at a later day, caused him to choose which of the competing wax- models of the L a oc

' n of oO was worthiest perpetuation in bronze . The frescos of the Hall of H e liodor us were

f f- of le t hal done at the death Julius II . , and were

’ f u two f inished d ring the ﬁrst years o Leo s reign . The third in the succession of these great mural paintings was “ A ttila Repulsed from Rome by Pope Le o illustrating the legend that when

A a ttila was leading the Huns ag inst Rome, in

2 St. Le o f t the year 45 , rode or h to meet him ,

of f of A warning him to beware the ate laric, who h a d ff St P h is h o ended . eter by plundering oly 74 RA PH A E L .

A t P e . t S St. P l city this juncture . ter and au appeared in the clouds, waving ﬂaming swords, h which so terriﬁed the barbarian King that e.

a n d h is hastily concluded a peace , led army out of t of ; h e f I aly. In the centre the picture ear A d stricken ttila is seen , ri ing a ﬁery black horse, while his savage hordes are ﬁlled with dismay, the trumpets are sounding retreat, and the armor clad horses are neighing in terror, with the bril

d n liant apparitions above , and a wil hurrica e

of raging on the plain . To this scene panic and f d con usion , approaches the calm and igniﬁed

Le o St. , riding on a white mule , and surrounded

T of by plump cardinals and prelates . his is one

f of t t the best rescos the mas er, bo h in richness of of t s color, accuracy drawing, pic ure que group

f e h i L o . . s ing, and power ul execution X had

for P own portrait painted the victorious ope , in

‘ a llusion to the recent expulsion of the French f of f rom Italy, when the troops the league ormed

V of E by Rome , Henry III . ngland , Maximilian of A of S f th e ustria, and Ferdinand pain , de eated armies of France in several battles 3 and Colonna de s troyed their Venetian allies at the battle of V icenza . THE 5 1 3 YLS . 75

“ The last of the H e liodorus frescos was The

De Of St P liverance . eter, which is in three sec t w . th e ions The ﬁrst sho s aged saint in prison ,

n two me dimva l - a t- t sleepi g between men arms , wi h a shining an gel appearing to free him ; in the second the angel leads the awe-stricken Peter through the s lumbering guards 3 and in the third the alarmed soldiers are awaking . The two ﬁrst

th e are lit up by resplendent angel , and the third by a torch and the young moon , giving a novel and effective variety of lights reﬂected from ar d mor and relieved by deep sha ows , which excited

s s of great prai e in Italy . The covert allu ion this fresco was to th e wonderful escape of the new P ope , when he was taken prisoner by the French

t of army at the ba tle Ravenna . The Church of Santa Maria della Pace was

1 8 of th e ff of P erected in 4 4, in memory e orts ope IV C . Sixtus . to restore peace to hristendom

’ H Ch i i s ere, at g order, Raphael ornamented a S P chapel with the ibyls and rophets, which Burckhardt claims as the best calculated amo n g all his frescos to attract th e admiration of th e ” spectator . The mysterious prophetesses of

t C a P P a n d antiqui y, the um an, ersian, hrygian , 6 L 7 R A PH A E .

' S w th Tiburtine ibyls , are here depicted a gentle ness and grace which contrast ﬁnely with the

’ f h e grandeur o A ngelo s Sibyls in t Sistine Chapel .

P ‘ D D The rophets , aniel and avid , Hosea and

of n f Jonah , are i erior merit, and were probably V f t painted by Timoteo della ite , rom the car oons of f the master . Cinelli relates that a ter Raphael had secured an ad vance of a hundred scudi for

f of this commission , he made a urther demand h i i’ C s . Giulio Borghese, g cashier But the dry a n d of practical man business demurred , suppos ing that a sufﬁcient compensation had already been made . The artist then demanded that the work should be appraised by an expert and Bor

A n gbese invited Michael ngelo , supposi g that his

A s j ealousy would lead him to depreciate it . the great Florentine was contempl a ting the fresco in silence , Borghese questioned him , and he replied , “ That head alone is worth a hundred scudi, and ” h e W t others are not worth les s . hen Chigi

of t a heard his scene , he ordered the cashier to p y a for of r e ma i n l n hundred scudi each the g heads , “ saying, Go and give that to Raphael in pay

fo r ment his heads, and behave very politely to

for if s him, so that he may be satisﬁed he insist ” GA LA TE A . 77

for on my paying also the drapery, we shall prob u ” ably be r ined .

f of 1 1 The resco Galatea was executed in 5 4 ,

of C P in a hall the higi alace, and is a very beau f f d d ti ul work . It represents the air and un rape

- d goddess gently sailing in a conch shell, guide by

L t a n d ove and drawn by dolphins , with tri ons

C s centaurs bearing the nymphs , and ﬂying upid shooting arrows into the throng . In a letter to C astiglione, Raphael says, To paint a ﬁgure f f f truly beauti ul , I should see many beauti ul orms . f But good judges and beauti ul women being rare , I avail myself of certain ideas which come into ” my mind . In 1 5 1 3 the master painted an interesting por

of Ph a dr a trait the portly librarian , Inghirami “ ” of V C r ot olterra, the Florentine icero , a p égé of a n d of the Medici, then bearing the titles

C P a n d of D ount alatine Bishop Ragusa . uring

1 1 th e t the year 5 4, mas er executed the pictures

’ of u d e of Gi liano Medici, both which are now

. h f e lost, leaving only copies to attest t eir orm r e t xis ence . The portrait of Cardinal Bibiena

- -V shows a middle aged , thin isaged ecclesiastic, with bright black eyes and an Italian phys iog 8 7 RA PH A E L .

- om n y. The Cardinal bequeathed it to Count C S astiglione, the ambassador to pain, and it is

of now in Madrid . The picture Castiglione which

’ is now at the Louvre is one of the master s best works in portraiture , and represents a strong a n d l f p easing ace .

In 1 5 1 3 a noble lady of Bologna heard celestial voices commanding her to erect a chapel in honor o f St Sh e C . . ecilia built the shrine at the Church of Sa n Ca r Giovanni in Monte 3 and her kinsman,

‘ ’ n Sa n ti ua ttr e di al de Q ; ordered Raphael to paint

- for . St an altar piece it The picture represented .

C w a s 1 1 ecilia, and displayed in the chapel in 5 7, awakening the liveliest enthusiasm in Bologna . d ’ f It was consigne to the artist s old riend Francia,

to if m who was requested correct or repair it, eces sary 3 but tradition says that he died at sight of

- of it, being heart broken at the thought his own f ‘ C hopeless in eriority . The holy ecilia is richly

of f clad in cloth gold , and stands oremost among S of St P St. t. the grand ﬁgures . aul and John ,

Sh e A a n d S a . t. ugustine , Mary M gdalene is lo d f w in e ifa b l e oking upwar , with a ace ﬁlled ith

of ecstasy, and listening to the harmonies the N e “ It th e t . angels in heavenly ci y agl r says ,

RA PH A E L ’ S A TH LI I C O C TY. 79 is fu of d e ll calm evotion , like the sol mn long ” drawn tones of old church melodies 3 and

e t s s d Go he adds , There are ﬁve aint there si e d w b ut by si e , who in no ise concern us, whose existence is so perfect that we wish the picture d f coul continue orever, until we also are ready ” for d u epart re . “ The Vision of E zekiel was painted about

e t for of the sam ime , a gentleman Bologna, and is th P now in e itti Palace . It is a representation of Jehovah , seated in an intensely brilliant glory, “ o surrounded by cherubim . A picture f The N u ativity was executed d ring the year, and sent C C V f to the ount anossa, at erona, who re used great sums for it 3 but all traces of this work are now lost .

E 1 1 arly in 5 4, Raphael was admitted into the

r C C Frate nitas orporis hristi , a rigid ecclesiasti

s of - C t cal ociety the most high church atholici y, d evoted to an especially scrupulous participation

th e E t f in ucharis ic sacrament . From this act, it is justly inferred that he was an earne s t believer in the doctrines and ceremonials of the Catholic

C u of hurch, and that his Madonnas were trib tes

S of s . piritual love, , as well as triumphs arti tic skill 8 0 RA PH A E L .

1 1 In March, 5 4, Bramante , being about to die, recommended the Pope to appoint Raphael as his f P o fﬁ o . success r , in the o ce apal architect The

Papal n omination was couched in the most ﬂ a t~ “ : of ' tering terms , saying To Raphael Urbino

of w Besides the art painting, in hich you are universally known to excel , you were , by the arch ite c t for w Bramante, equally esteemed your kno l f edge in that pro ession 3 so that, when dying, he justly considered that to you might be intrusted the construction of that temple which by him was begun at Rome to the Prince of the A postles ; a n d O you have learnedly conﬁrmed that pinion ,

o of by the plan f the temple requested you .

Le t ff your e orts correspond to our hope in you, to our paternal benevolence . towards you, and

f of lastly to the dignity and ame that temple, even the greatest in the whole world and most holy 3 and to our devotion for the Prince of the

A postles . His deep interest in the new work appears in “ his letter to Castiglione : Our Holy Father has

a l id a great burden on my shoulders , in giving . b uildin of S me the superintendency of the g t.

’ P h O e eter s . I p , indeed , that I shall not sink H I T T A 8 1 ARC EC UR L WORKS .

d f under it . I woul ain revive the beautiful f of of orms the buildings antiquity, but I know ” f of f not whether the ate Icarus is be ore me .

’ Yet Raphael s share in the construction of th e

s of great Ba ilica was unimportant, on account the diversion of the funds intended therefor to

of t a n d the expenses the war wi h Urbino, the

t S of th e P t cos ly plendors apal cour . His only service was to str engthen the four column s on

d d e n l a r which the ome was inten ed to rest, by ging their slen der foundations with a series of piers and arches . In 1 5 1 4 he restored and gave a new p ortico to the venerable Church of Santa Maria della Navi

th e Co cella, on elian Hill . He also completed

L C of Sa n D the oggie in the ourt amaso , at the

V of u f atican, which is one the most bea ti ul pal

- d ace courts ever constructe . He designed the

’ of Br a n c on io A rich palace dall quila, and several other houses in the Borgo Sa n Pietro 3 the Cas a

’ w - s de Berti , a he n tone structure in the Borgo Nuovo 3 the Villa Madama 3 and the still beautiful

Pa V lazzo idoni . His buildings were among the

of e s s ﬁnest the c ntury, showing a notable richne

u a and pict resqueness, while at the same time p 8 2 H A L RA P E . pr e c ia tin g the effect of grand masses and barmo n ious arrangement . The master devoted much time to the study of the treatise on architecture

V of which itruvius , the imperial superintendent

l of A Cae bui dings , wrote at the request ugustus

of sar . He had a translation this book made into Italian by the venerable scholar Marco Fa

C of bio alvio Ravenna, who was kept tenderly and generously in his palace until his death . A t a later day Raphael secured the publica tion of a Papal brief comman ding the citizens of Rome and its environs for ten miles out to sub mit to his inspection all the hewn stone a n d mar ble which should be discovered in that district. This order accomplished the double end of pro y iding a great quan tity of stone for the works on P ’ f St. o f eter s , and saving rom destruction many

of f f curious antiques . In point act , he per ormed

of f the duties a director o antiquities . It was probably about this time that Raphae l

u a t turned his attention to sc lpture , in which he ta in e d th e some success , having executed ﬁne

t of for th e C sta ue Jonah higi chapel , and mod e l le d the statue of E lias for the same place . He a lso design ed a group of a wounded child borne

8 A H A E L 4 R R .

in my native town . I bear you continually my w t heart, and hen I hear you men ioned it see m s if f as I heard my ather named . “ f off of I had le t speaking my marriage , but

C of S return to it, to tell you that the ardinal anta Mari a l n Portico [Bibiena] wishes to give me one of t of his relations, and that with the consen my

t uncle the priest, and your consen , I have placed

f of L mysel at the disposal his ordship . I cannot withdraw my word 3 we are nearer than ever to

' A s the conclusion . to my soj ourn at Rome ,

’ f r P o of St. s I cannot, the love the works at eter ,

m for th e re ain long elsewhere, I have at present

of A n d t th e place Bramante . what ci y in world is worthier than Rome, and what enterprise greater P ’ ? I St. t than eter s , the ﬁrst temple in the world is the greatest building ever seen, and will cost

of P more than a million gold . The ope has granted sixty thousand ducats a year for the

of n . works , and he thinks nothi g else He has

f of given me as a colleague a very learned ather,

of n ot at least eighty years age , and who has

of long to live . His Holiness gave me this man great reputation and great learning for a col ~

u if h a s leag e, that I might proﬁt by him, and, he I IE 8 M A RIA D E B B Z VA . 5

t t a noble secret in archi ecture , hat I might learn

f t th e it also, and thus attain per ec ion in art . His

P for name is Fra Giocondo . The ope sends us

us for t every day, and speaks to some time abou ” the works . The lady to whom Raphael alluded in this

d of letter was Maria da Bibiena, aughter the neph ew of Cardinal Bibiena ; and it has fr e quently been intimamted that the young man was reluctant to consu mate the marriage . Some say that his assent was won by the inﬂuence of

C t n d s the ardinal , and wi hout consulti g the ictate

of f of his heart . But in point act the rich artist was in a position to help the prelate, rather than

Th e ‘ humb l e to be beneﬁted by him . and sub missive tone in which he speaks of the engage

of t ment was characteristic his time and coun ry, where marriages were usually arranged by the

d for d elders, and the can idates the union a apted t themselves to the situation . It is cer ain that

f m 1 1 this engagement was or ally renewed in 5 5 ,

f t 1 1 and that it was in orce at least as la e as 5 7. It has been suggested that Raphael was waiting to ﬁx his fortunes on a sure foundation before

. A a n d marrying a patrician lady nother theory, 8 6 H RA P A E L .

of perhaps the most probable , is that Maria was

r a ve y delicate constitution , and that the delays V were made in her favor . The absurd asari claims that the postponements of the nuptials

’ arose from the artist s hope of being made a

for cardinal, in recompense the money which the

of L i Pope owed him . The death the ady Mar a

f of a occurred be ore that the master, and put s o e n d a ll h rt to their hopes and pl a ns . TH E VA TI CA N 8 7

A P E CH T R VI .

— ’ - Th e Va tica n De cora tion s . Th e S ta n z a de ll In ce n dio. Th e

L o i h t ie s A r hit r a l rk n ra w gg e a n d t e Ta p e s r . c e ctu Wo s a d D

in R l ’ Puil s a h a s s . g . p e p

TH E A postolic Palace of the Vatican was in those days the most splendid palace in the

of world, as it is still the largest . The genius Bramante had given it an expression of archi te ctur a l unity by uniting its scattered sections 3 and the Popes had been enriching its surround ings for over a century with decorations by the

W -w leading artists of Italy . hen the gold ork was

n f f undimmed, the colors u aded, the marbles resh , and the stuccos in their pure whiteness , these great halls must have appeared like the courts of P f f aradise . It is too o ten orgotten by visitors

of at Rome, that the vicissitudes three hundred years have wrought sad damage to many o f these paintings 3 and hence a feeling of dis a p pointment often rises when the pilgrim stands before the stained and faded remnants of th e 8 8 A H L R R A E .

f h Sir . art o t e sixteenth century . Joshua Rey n olds confesses that he felt deeply humiliated

’ because of his inability to appreciate Raphael s V f t atican rescos at ﬁrst sigh . But he was con soled on being assured by artist- friends and by

f of f of the o ﬁcers the palace , that this eeling f disappointment was almost always elt at ﬁrst, even by men of cultivation and con noisseurs in

h ow art . He relates he studied and copied the f f f ff rescos, and orced himsel to a ect an admiration for them , until at last he had come to understand

t of and venera e these high excellences art . He thereupon naturally concludes that a relish for

t of for the best s yle paintings , as well as poetry or music, is an acquired taste , demanding time, attention , and hard work . It will be remembered that even Taine Opened a rattling ﬁre of persi

’ ﬂa e -V g on Raphael s works at the atican , during his ﬁrst visit 3 but aft er longer study he grew f interested and then ascinated , and ended by

’ echoing old Vasari s most high - ﬂown panegyrics

n of o the painter Urbino . The Loggie of the Vatican consist of a series of open arcaded galleries , three stories high, which were erected by Bramante and Raphael TH OGGI E FRE S S 8 E L CO . 9

l: le e of C of Sa n D around t sides the ourt amaso . The celebrated frescos called Raphael ’ s Bible were executed for the decoration of the middle f story, which ormed the passage to the papal

v apartments , and commands an exquisite view o er

P ’ L t of St. C the colonnade eter s , the eonine i y ,

ut th e S and o to blue abine Mountains . There

d of t f are thirteen arca es , each which con ains our

f f - f pictures , whereo orty eight are drawn rom the f f Old f of C . Testament, and our rom the li e hrist The city was ﬁlled with admiration during the

of progress this grandly conceived work, which was destined to attest to subsequent generations

of of d the glory the golden age art . The epth of poetic imagination displayed in this illumi n a te d epic of the Church is combined with a rich and charming fancy and a sustained strength of execution .

—1 R The Loggie were painted in 1 5 1 4 6 . a

h a e l for th e p made the sepia sketches pictures , P which were executed by Giulio Romano, enni ,

V P C of aga, olidoro da aravaggio , and others his c best pupils . In order to enrich the loister to the highest degree , the master brought to Rome

of the Florentine engraver gems, Giovanni Barile , 0 9 RA PH A E L . who carved all th e woodwork 3 the youn ger Luca d d ella Robbia, who paved the ﬂoor with colore a n d enamelled earthen tiles , imitating a carpet which bore the Papal arms 3 and other skilful a r tiﬁ e r E V of c s . ven asari said the completed

‘ “ decorations , It is impossible to execute or to ” conceive a more exquisite work . The subj ects of the fre s cos are as follows

A S of L f D First rcade , eparation ight rom arkness,

Dr L C of Sun God creating the y and , reation the

t f th e A S r C o . A and Moon, rea ion nimals econd

C of A E ve th e E cade , reation dam and , Fall, xile

E W A r f E A ve . rom den , dam and at ork Third

N A rk D E cade, oah building the , the eluge, gress

’ r A f A k N S . rom the , oah s acriﬁce Fourth rcade , A ’ C w braham and Melchizedek , God s ovenant ith A A A L ’ braham , braham and the Three ngels , ot s f S f A Flight rom odom . Fi th rcade, God appear in g to Isaac, Isaac embracing Rebecca, Isaac

“

s E . bles ing Jacob , sau claiming his Birthright S A ’ L ixth rcade, Jacob s adder, Jacob and Rachel

W L for a at the ell , Jacob asking aban Rachel, J A C . S cob returning to anaan eventh rcade , Joseph D P telling his ream , Joseph is sold, Joseph and oti

’ ’ W f P D . phar s i e , Joseph interprets haraoh s ream

2 RA PH A 9 E L . f i of m m e avor te disciple Raphael , with who he ad s everal artistic excursions . It is related that they once explored together the newly discovered

of f Baths Titus , and were surprised at the resh ness and beauty of the antique stucco orna ments found among the ruins . Giovanni analyzed this

f of - material , and ormed a composition marble,

t s travertine , and chalk, which presen ed the ame

e W appearanc . orking the new compound into f skil ul designs, he produced ornaments equal to

’ the antique 3 and proceeded , under the master s L superintendence, to decorate the oggie with them .

’ ’ l a Sta n z a a eZZ I n cen dio was the third of the halls which Raphael frescoed in the Vatican .

‘ 1 1 The work was begun in 5 4, and ﬁnished in

1 1 for 5 7. The theme celebration in this series

th e of r of P was era the glo y the apacy, and its victories over all adversaries . By a remarkable

r coincidence, during the ve y years when this proud record was being emblazoned on the walls of V the atican , the transalpine nations were

of Re f seething with discontent, the ﬂames the orma tion were beginning to crackle, and the

Roman hierarchy was hurry ing towards the most R A ND RA PH A E L UTH E L . 93

fearful catastrophes in its history . The secession of the northern ki n gdoms from the spiritual con

of PO e a n d t of trol the p , and the sack des ruction E C t the ternal i y by the imperial army, occurred L i within ten years . Martin uther was born n the same year as Raphael, and visited Rome at

1 1 nearly the same time . In 5 7, while the Italian artist was closing his illustrations of the victories

‘ of P ff S n a il e d h is the onti s, the axon monk ninety

s of W ﬁve the es to the door ittenberg church, and led the exodus of the Gothic nations from the

Roman Church . The ﬁrst fresco in the Stanza dell ’ Incendio is The Oath of Le o II which was designed by P V Raphael , and painted by erino della aga . It t St P ’ por rays the marvellous scene in . eter s

C 8 0 0 of P e hurch, in the year , at the trial the op by the E mperor Charlemagne on charges pre f d of P A erre by the nephews ope drian , when the solemn conclave was startled by a supernatural voice proclaimi ng that no mortal could be allowed “ to judge the Pontiff. The second fresco is Th e f C o C L e o . oronation harlemagne by III , and alludes also to the recent alliance between King

P Le o X . r . h a e Francis I and ope , w ose portraits 94 RA PH A E L . seen in the faces of th e two principal personages of the picture . “ The Burnin g of the Borgo is the third in

c on ﬂ a r a tion the series , and delineates the great g which swept the Saxon and Lombard quarter of 8 Rome in 47, aided by a wild hurricane , until

L e o V f e Pope I . arrested its urther advanc by his

of prayers . The genius the master is shown here in f of f its ull strength , in the groups ugitives , the f ﬂying women , and the alling buildings . Here also he boldly enters into rivalry with Michael

A n n f of gelo in portrayi g nude orms both sexes, f in power ul attitudes . There are more undraped

a n of ﬁgures here than in y his other pictures . The allusion is to the devouring ﬂames of war

1 1 f . which menaced Italy in 5 5 , a ter Francis I had

f S of de eated the wiss allies Milan at Marignano, d s laying ﬁf teen thousand of their sol iers . The

of e o t th e n diplomacy L X . hen saved peni sula u from f rther invasion . “ V o V S The ictory f Le o I . over the aracens at Ostia shows the Italian ﬂeet destroying the invading Moslem squadron in the port of Rome .

P w f of Le o X The ope , ith the eatures . , is on the

a Ca r ~ shore, engaged in pr yer , and is attended by

6 9 RA P H A E L .

h umili scene , while He says to the prostrate and

P : f f ated eter, Fear not rom hence orth thou art

” “ ’ a ﬁsher of men The second is Christ s

C P - L d harge to eter, with the white robed or P pointing with one hand to the kneeling eter,

of and with the other to a ﬂock of sheep . Back P A eter are the other postles , with a town in the

of L of distance, and a cove the ake Gennesaret on “ f of St the le t . The third is The Martyrdom . S f w tephen , showing the alse itnesses hurling w stones at the kneeling saint, who ith ecstatic

L n ot to upward gaze cries out , ord , lay this sin ” “ f Th e H e a lin of . their charge The ourth is , g

P a r e P P St. the aralytic , where St. eter and aul

f of b e entering the Beauti ul Gate the Temple ,

of tween twisted columns amazing richness, and

P of eter says to the blind beggar, In the name

of N f Jesus azareth, rise up and walk The ﬁ th “ ” D of A f is The eath nanias , with the alse and abject A nanias expir ing under the judgmen t t P invoked by the tranquil and austere S . eter. “ C of St P The sixth is The onversion . aul , rep resenting Saul the persecutor prostrate before w the heavenly vision , hile his companions are

“ ﬂ E S Blin dv eeing in terror. lymas truck with E TH TA P E S TRIE S . 97

C totte r o ness shows the hostile retan magician, ing in the total darkness which has been brought

t of t P S . upon him by the denuncia ion aul , while S u P u the enthroned proconsul , ergi s aul s, gazes in “ s d P l astoni hment upon the ramatic scene . au and Barnabas at Lystra ” illustrates the wrath

of - and sorrow the miracle working disciples , when the grateful Lystr a n s were about to offer sacri “ ﬁc e s u t S . to them as J piter and Mercury. In ” P P a t A A aul reaching thens , the inspired postle

d of A is seen stan ing on the steps the reopagus , and a ddres s ing groups of attentive and curious

s philosophers , The plendid Greek architecture w in the last two pictures is accurately dra n , and

d t ’ f t in icates the ar ist s amiliarity with the an ique . “ t P P A S . aul in rison shows the postle praying in his cell, while the walls are shaken by an “ ” C t of V earthquake . The orona ion the irgin

of C was a representation hrist on His throne,

d t crowning the Ma onna, wi h the Father and the

S St. Holy pirit in a glory above, and Jerome and

' St Th i w . s a s John the Baptist below . the closing

a of of C c nto the great illuminated song the hurch , manifesti n g th e gloriﬁcation of the Holy Trin ‘

of of ity, and the resplendent honor the Mother

God . 8 A PHA L 9 R E .

In these tapestries the master showed how well he apprehended the radical ideas of early C f l hristian history, and how care u ly he adhered

f of A a n to the acts the postolic nals, without interpolating arbitrary accessories . They are marked by true and devout expression , a close f of tv e s ollowing traditional p , and an ennobling

of ua tr e mer e harmony arrangement . Q de Q uin “ c of y calls them the climax, not only the pro duction s of of of n Raphael , but all those moder ” genius in painting . The superintendence of the weaving was given by the master to his Flemish pupils, Bernard

x ie van Orley and Michael Co c . They were de s a tch e d A p to rras , in Flanders , where the looms were established . The completed tapestries f f weighed our hundred and ﬁ ty pounds each, and f were skil ully and richly wrought in wool , silk, S and gold . They were exhibited in the istine

C 1 1 of hapel in 5 9, amid the enthusiasm the peo L ple , but were seized and carried away to yons a V C . eight years l ter, when harles reduced C Rome . The onstable de Montmorenci sold D P 1 . them to ope Julius III . in 5 5 5 uring the

of 1 8 French invasion 79 the set was stolen again, r o o RA P H A E L .

P Court alace . These seven cartoons represent

of D C the stories the Miraculous raught, the harge

P P A E St. to eter, the aralytic, nanias , lymas, and L A Paul at ystra and at thens . They are pre ferred by some E nglish connoisseurs to any other

’ of Raphael s works , as showing ease , simplicity,

of un h a m e r e d ‘ b and grandeur thought, p y the f mechanism o elaborate painting . They are yearly studied and admired by many thousands of f people , and have requently been copied ir

n e gravings . A duplicate set of these tapestries was made

A V of E n at rras , and presented to Henry III . g V A f land by the enetian Republic . ter the exe c ui n f t o o Charles I . it was taken to Spain by the

D of A a L uke lv , but returned to ondon some dec

n ades since, where it was purchased by the Ki g

P for A of russia the Berlin Museum . nother set

e E of a x was presented by L o X . to the lector S

of r o ony, and six its pieces now hang in the tu of r D A nda the Royal Galle y at resden . nother set was bequeathed to the King of France by C S ardinal Mazarin , and was seen at trasbourg

1 0 t wa s t in 77 by Goethe . S ill another kep

C of S a in the hurch anta Barbara, at Mantu “ ” ROXA NA . 1 0 1

1 8 until 7 3 , and has recently been carried to V ienna . It is said that tori rich

t t apestries from scenes i n th e Q l d Te s ta me n which were presented to Chartres Cathedral by

Bishop de Thon but these have disappeared . The master executed several smaller frescos

n 1 1 of 1 1 6 duri g 5 5 and the early part 5 . He pre “ pared the de s ign for The Martyrdom of St.

C f or ecilia, which was painted either by himsel

’ one of his best pupils in the ch a pel of the Pope s

8 0 t n L a . 1 hunti g castle , Magliana In 3 his work was ruined by an act of Vandalism on the part of f V s the armer itelli , who wi hed to attend ser vice in the chapel without coming in contact with

n the peasa try, and cut a gallery through the cen

of th e i m of f tre p cture . The re ains the resco

th e L are now at ouvre . The Marriage of Roxana is a fresco r e p r e

t n sen ing the mag iﬁcent Roxana, sitting on the

of t A edge a bed , wi h lexander approaching and

E h e i n about to crown her . p s t o and Hymen are i d Cu ’ beh n , and pids carry away Roxana s veil and s l th e m r lippers , and p ay with weapons and ar o of i the hero . This picture was pa nted in the I 0 2 RA H L P A E . building in the Borghese Park which was after w s c a lle d h il . e . a . 1 8 it a rd .t V l Raphael In 45 was

‘ l f un a t r e mokred tc a th e P for ort ely Borghese alace , th e :V’ llzi Ra h e wa s s r e volu p a l , de troyed in the i of 1 8 8 t on 4 . — o 1 1 a In the winter f 1 5 5 6 Le o X . visited Flor f ence, intending to erect a splendid acade on

C of Sa n L the hurch orenzo . He summoned the chief architects of Italy to compete on the plans 3 but Michael A ngelo afterwards refused u to allow their participation , and sec red the work f P himsel . The ope required that only Tuscan f marble should be employed , and be ore the roads could be built to the remote quarries , the church f d a n d fa n un s were exhausted , the cade was ever

D th e erected . uring competition , Raphael vis ite d ic tur Florence , and submitted a rich and p

W e esque design . hile he soj ourn d in the Tuscan capital he executed the plans for two of its most

of for Pa n symmetrical palaces , one which was d olfin i of fo r , Bishop Troy, and the other was f f the Uguccioni amily . The first is seventy eet wide , with Tuscan columns on the lower floor and Ionic columns above, an admirable classical f entablature, and a beauti ul triple arcade open

1 0 4 RA PH A E L .

e e t th e bistr , tr ating widely varying subjects wi h

« of f or: sprightly play his ancy, the deeper serious

f w t ne ss o close study . The minute care i h which his works were planned is shown by th e many

d f r S of sketches ma e o each . ome his drawings m f were given as ementos to riends , and others as models to pupils, and are now preserved in

of E of the galleries urope . The engravings

A f of t s Marc ntonio have retained the orms o her , in some cases retouched on the plate by th e mas ’ d ter s own hand . His esigns were scattered broadc a st over the Continent by the labors 0f

s the industrious engravers , to the great increa e

’ of f A f Raphael s ame . mong the chie collections of his original drawings may be mentioned that

Ufﬁz i 0 s in the at Florence , with over 4 specimen 3

1 0 0 V t n A and in the ene ia cademy . France has

6 L 2 Wic a r 3 in the ouvre , and 4 in the Gallery

L 1 0 A at ille . Germany has 5 in the lbertina at

f E n V 1 0 a n 1 0 . ienna, at Berlin , d at Frank ort g

2 0 C 1 i n land has in the Royal ollection , 4 the

N 0 ational Gallery, .and about 5 in the palaces of her nobles . The University Galleries at f Ox ord contain about 1 40 original drawings . Among th e most famous collections was that of ’ 1 0 RA P H A E L S P UP I LS . 5

Sir L 1 6 0 Thomas awrence, which contained

w s of u dra ing Raphael , val ed at

’ Raphael s devotion to his pupils was one of

f f of a n d the most beauti ul eatures his character,

of t resembled the warm interest an elder bro her. u They were not only inspired by his geni s , and indoctrinated in his methods of s tudy and

e f s t f o or thought, but wer urni hed wi h requent pp tun itie s for d honorable indepen ent work . The

f of wonder ul productions the master, and his i n nexhaustible imaginatio , aided and stimulated f them to emulate the care ul observation , close attention , and minuteness in details , which had re n dered him capable of such rapid and well

On e of sustained work . these disciples asked him how he had been able to produce so many

s o d pictures in short a time ; and he replie , From my earliest childhood I have made it a ” t principle never to neglect any thing . N0 o her master has ever bee n able to control and in ﬂu

of ence so great a number talented men , even such as might have aspired to become his rivals , but f were content to be his pupils and riends .

The proverbial jealousies of artis ts were unknown a w h is mong the d ellers in studio, their only em 1 0 6 RA PH A E L . ul a tion in e be g to increase his advantag , and h of of eighten the glories the school Raphael . Vasari attributed this peculiar power of the mas te r to his exquisite courtesy and willingness to accommodate ; traits which were soon reﬂected

th e among the pupils, and became prevailing law of the studio . f The Roman school was thus ormed, with its foundation on the ideal and the classic 3 and its main attributes may be stated as judiciousness of

t n of invention , chas e ess composition , and quiet f f ness of coloring. It gave great promise o uture

L th e of achievements ; and anzi , learned historian “ if ’ art in Italy, says that Raphael s. maxims had

d t r o b remaine unal ered, Italian painting would p ablyhave ﬂourished for as long a period as Greek

l of scu pture . The destruction the school came f all too swi tly, when its members were scattered

d n in distant cities by the untowar eve ts at Rome , and deprived by isolation of the advantages of

t t of th e join s udy and advancement . The causes dispersion were th e accession to the Papacy in

1 2 0 of u 5 , the a stere and iconoclastic German,

f in A VI . s t o drian 3 the de ola ion the pestilence,

1 2 2 of 1 2 f r 5 3 and the sack Rome , in 5 7, a te

: 8 0 RA PHA E L .

A E V CH PT R II .

’ ’ Ra h a e l s Pa in tin s in 1 1 6 1 1 a n d 1 1 8 Th e Ma don n a s a t p g 5 , 5 7, 5 .

F lor en ce . Th e Sistin e Ma don n a Th e Ch i i F r e s . g cos .

IN the ye a r v r 5 1 6 the master ﬁnished the Log S gie and the istine tapestries , and continued the

’ ' d of St H ecoration the anza dell Incendio . e

n e w f P received at this time honors rom the ope , and an enlargement of his authority in regard to

of the public buildings Rome and its antiquities . The details of his personal history and private life at this important period of three years are of f d i the most meagre and unsatis actory escr ption , and leave us to infer that his time was devoted

- d f w of to studio work , seclu ed rom the orld events .

S of 1 1 6 of In the pring 5 he made . a series s ketches for his warm friend and would -b e kin s C man , ardinal Bibiena , who then inhabited the

of V for third ﬂoor the atican . They were the

of t - a n d decoration his ba h room , the order stated that they should represent the omnipotence of “ L N u s s wa s ove in at re . The ﬁr t ketch The " A L ” 1 0 LA M A D ON N D E L A S E D IA . 9

t of V f A Bir h enus , showing the air phrodite

f f of s e a d t f rising rom the oam the , ra iant wi h li e a n d beauty The next repre s ents Venus and

a n d d h Cupid seated on dolphins , ri ing throug the wide sea . Then she appears resting under a

a n d d w tree , pressing her han upon a ound in her

s t t Cu h e r brea inﬂic ed by pid, who reclines near A d w u . in easy nconcern gain , she is seen ra ing

f f t ﬂow a thorn rom her right oo , while the blood ing from the wound s tains the whi te rose to a

wa s perennial redness . The room decorated in

w t f the antique style , i h seven rescos painted on

- d f a reddish brown groun , in grotesque rames,

s b elow which were even victorious Cupids . The extraordinary character of these ornaments in

of of C the apartments a prince the hurch , at the

of C t d is f d central shrine hris en om , eebly explaine by Passavant by a reference to the passion of th e court of Rome at that time for the antique and

- classical . The bath room pictures met with a f great and immediate success , and were requent 1 d y copie and engraved . They are now nearly t t d obli era e . Three famous Madonnas date from Th e Madonna della Sedia is now in the Pitti 1 I O R A P H A E L .

‘ P a n d of - alace, is one the best beloved works of e V Raphael . It repr sents the irgin seated in a

redid f d chair ( ) , with grace ul striped rapery on her C head, encircling the Holy hild with both arms , and bending a face of indescribable sweetness a H is u f f t gainst bea ti ul head . The in an St. John

w of is belo , in adoration . The shape the work is round 3 and it is eminent for clear and luminous

f C color and skil ul hiaroscuro . The religious idea is here ove rﬂowe d by a boundless wealth of ma

ff t ternal love and ﬁlial a ection 3 and , in his aspect, it is one of the most fascinating achievements of

dis tr ib art . Copies and engravings have been ute d in myriads throughout the world . “ The Madonna della Tenda ” is somewhat

th e similar to picture previously described, and derives its name from a curtain (ten da ) in the

f th e background , be ore which sweet and saintly V d D C irgin sits , hol ing the ivine hild , with the adoring St. John below . It was bought by King

Louis of Bavaria for $ 2 and is now in the

“ Munich Pinakothek . The Madonna with the ” Candelabra passed from th e Borghese Gallery to of Lu th e D that cien Bonaparte, thence to uke f ' f of L L . o ucca, and thence to ondon The ace

1 1 2 RA PH A E L . only representation of the Passion which Raph ael u made during his mat rer years , and was entirely

A s executed by his own hand . ccording to ome

“ Tr a n sﬁ ura critics, it is equalled only by The g

’ o h tion . It was painted f r t e Sicilian convent

of S S church anta Maria dello pasimo , and was

s P th e de patched to alermo by sea . But vessel w was lost, ith all on board ; and nothing was

t recovered but this pic ure, which ﬂoated into the

' of a n d harbor Genoa, uninjured by the winds waves . The Sicilian monks reclaimed it 3 but the f exultant Genoese re used to surrender their prize,

Po e a t until the p himself intervened . It is now

Madrid . “ The Madonna of the Pearl represents the loving and tender Virgin holding Jesus on her knees, while He reaches out His hands toward E St ff f St. l . John, who is o ering Him ruit . izabeth

S — f i t. and Joseph are also present, orm ng a f group which illustrates the j oys of domestic li e . The soft violet tones and minute ﬁnish of this work evince great care and precision . It was designed and retouched by the master, and u o mainly executed by Gi lio R mano, at the order of of n f the young Marquis Ma tua . Trans erred to ‘ ” “ H E VI S I TA TI 1 1 T ON . 3

of E f h i of C a . s the gallery h rles I ngland, a ter

P IV of S tragic death hilip . pain secured the

for s ove r work Upon receiving it, the “ ” e i n d g crie , This is my pearl ; and it has ever

t t of since retained ha name , and is now one the

of gems the Madrid Museum . “ V ti th E The isita on portrays e aged St. liza f V beth j oy ully saluting the irgin with the words, ” Blessed art thou among women 3 while in the t background S . John is seen baptizing Jesus in the River Jordan . It was painted at the order of Bra n c on io for A A b a church at quila, in the d ruzzi Mountains, and was hel in such reverence

t w tha no one was allo ed to copy it . This was t f S E u 1 6 rans erred to the panish sc rial in 5 5 ,

P N r e and was carried to aris by apoleon , and

f of 1 8 1 turned to Madrid a ter the peace 5 . “ O a k- The Holy Family under the tree , and ” th e The Holy Family with Rose, are also in

’ S n w f pai , and ere executed rom Raphael s sketches

d f s w i a n by his pupils . The ormer i some hat st ff

its d in composition, and was painte probably by

“ P of Francesco enni . The Holy Family the

Passeggio has disappeared ; but a copy which w t cost is now in the Bridge a er Gallery, 1 1 4 RA PH A E L .

” “

L . E at ondon The Repose in gypt, The ” V of irgin in the Ruins , and other pictures f P doubt ul authenticity, are described by assa vant

The architectural and antiquarian studies of th e f t master were now bearing rich rui , in his P f reports to the ope, and his care ul drawings . He had been aided and accompanied in many excursions by the erudite Count Castiglione and

A v the antiquarian ndrea Fulvio , who also ga e

r t him wise counsel with regard to his epor s , and helped him to trace the plan of ancient Rome from its ruins and the descriptions of the Latin authors . He wrote also a manuscript on the

of t subject art, with copious his orical notes ,

f of which is now lost, much to the grie modern scholars . In 1 5 1 8 the master was free from the engross ing works at th e Vatican 3 and he therefore de voted his time to the preparation of seven reli

ious f g pictures , ﬁve portraits , and the large rescos P A ” in the Chigi alace . The rchangel Michael s hows a striking and admirable contrast betwee n

of the ideal grace youth and heroism , in the d young champion , and the ark and grovelling

1 1 6 RA P H A E L . m ’ h b ut aster s pencil , except the original sketc , concede that the “ Holy Family ” was from his

a n d of hand , was one his ﬁnest works . They w K of ere presented to Francis the ing France , L ’ by orenzo de Medici , who had recently pos o f of D of Ur b in o sessed himsel unjustly the uchy , a n d wished to secure the protection of the King in his usurpation . During the summer the pictures

of were sent overland on mules , by way Flor L ence and yons , to the royal palace at Fontaine

' th e of bleau . Great was the rej oicing in court

t n f France over hese wo der ul works , which sur

a ll It passed expectations . is said that the prodigal Francis rewarded the master so mun iﬁ c e n tly that he entreated him to accept another picture as a present, to which the King made answer that men celebrated in art shared th e

of a n d immortality great kings, might treat with them as equals . St . Margaret represents a noble and beau t f of i ul maiden , bearing the palm martyrdom , and d trea ing on a horrible dragon , in allusion to her victory over the temptations of the world by the

of f a n d power aith . It was drawn by Raphael,

a t R . p in ed by omano, and was sent to Francis I

F A RRA 1 1 M VA 0 a UN . 7

t a t The S . Margaret in the Belvedere Gallery th Vienna is very similar to that in e Louvre .

“ The Small Holy Family of th e Louvre shows

d th e d d Jesus stan ing in cra le , supporte by the

d of t V a n S . irgin , caressing the cheeks John ,

t E l . who is held by S . izabeth Raphael made the d design , and Romano painte it . The master

n C d e f prese ted it to ardinal Boissy, his riend at the court of France . In 1 5 1 8 Raphael painted his ﬁnest work in

f P Le o X o . C portraiture, a picture ope , with ardi nal Giulio de ’ Medici (afterward Pope Clement

’ ’ C L i L and ardinal odovico de Ross , eo s w nephe and inseparable companion . This work

n ow th e P t P is in i ti alace, and shows the truth,

a n d of style, execution , coloring the master in

i t t - the r best aspects . It por rays the whi e robed a n d P ff t - a n d venerable onti , si ting in an arm chair

n r t holdi g an illuminated brevia y, wi h a rich pile of t architecture in the background, and the at end a n t a t d cardinals the si es .

a of s o f The portr it the peerle s blonde , Joanna

’ Ar wa s te d for L d e d ragon , execu orenzo Me ici , who sent it to Franci s a great lover of beauti ful i u a a d women . It s s pposed that Raph el p in te l 1 8 RA PH A E L .

of the exquisite head, and Romano the rest the picture . This sweet patrician lady was the

of Du of f daughter the ke Montalto , and the wi e of P A C C of N rince scanio olonna, onstable aples . Sh e was one of the most famous wits a n d beauties of of a dve n her century, and the heroine many

of tures in prison and in war . It was this rare C C “ damosel that ardinal olonna wrote , But in N t our time , a ure , the generous creator, wishing f to show the world something marvellous , per ect, t and resembling the immor als , has created Joanna ” r r a on ia A g Colonna . A t this time also he executed a portrait of Lo

’ f of renzo de Medici , Gon aloniere Florence, and

D of w f s uke Urbino , hose daughter, the amou ’ f C t a . o a harine de Medici , m rried Henri II

France . The original picture is lost, but a copy remains at Montpellier, showing the Medici Of features and a rich me dimva l costume . the many other portraits which Vasari attributes to the master, some are now lost, and others appear

of unworthy his pencil . Th e famous and well—preserved picture of ” The Violin -Player is probably a portrait of

A of f ndrea Marone Brescia, a success ul young

I 2 0 RA P H A E L .

D d th e a the res en Madonna , bears latter n me on

of its account present location , and the others

St S tu s f because . ix s is the mo t prominent o the

d u its Vir secon ary ﬁg res in composition . The

th e gin is seen standing on clouds , in the midst of an immense glory composed of myriads of ’ w cherubs heads , ith green curtains drawn away

i of mir at the s des , giving her the appearance a a c ul ous th e Sh e revelation in heavens . looks

of th e t out pic ure with large sweet eyes , in d - eeply shadowed rings , and has an expression of m combined maj esty and melancholy, odesty

r e and innocence . The Child Jesus bears a

s markable re emblance to her, as He rests in her

a n d tt arms in a simple childlike a itude . His

f d t divine ace is marked by compressed lips, ila ed nostrils , and strong and contemplative eyes which look out into the heart of the reverent f s . St S vi itor . ixtus kneels on the le t, in a white tunic and gold- colored pallium bordered with

for purple , and is praying his people , to whom

t s f d he points, while wi h ec tatic ace he regar s the

O n St. Madonna . the right is the kneeling Bar

t s f d on a n d bara, wi h her hand ol ed her breast,

f t a n d her ace, ﬁlled wi h love charity, looking M A A THE S IS TI N E D ONN .

of f f down on the assembly the aith ul . In the

of tu of lower part the pic re are two cherubs ,

n a celestial beauty and innocence, lea ing on

b d . alustrade , and looking upwar

“ Thi s sublimes t lyric of the art of Catholicity was th e las t work which Raphael completed with

o wn ds d his han , and appears to have been dictate b t of y a divine inspira ion , as an apotheosis his m f genius . From this, ore than rom any other “ f ivm o D e . work, he receives his title The Its rare simplicity and sublime ideali ty unite with a certain unearthly sweetne s s and super natural elevation to produce th e religious e n th u~ s ia sm arising in the soul which rightly views the

ft t picture . It was a er contemplating his work , C “ that orreggio exultingly exclaimed, I too am ” an artist ! a s if earth knew no nobler men than those who could thus surpass and look b e «

th e m t yond nature, and portray divine ys eries .

The Sistine Madonna was painted in 1 5 1 8 for

‘ t of Sa n S Pia he Benedictine Monas ery isto , at

f wa s u 1 cenza, rom which it p rchased in 75 4, by

E t f f r A . o S o ugustus III , lec or axony, It D d t was received at res en wi h great pomp , and placed in the reception-hall of the E lectoral I Z Z RA PH A E L .

P of S dis alace, where the throne axony was placed in order to give it the best- lighted po s i«

W is tion . ithout doubt, it the ﬁnest picture in

N of E u for the orth rope . It is distinguished a

d a n d for o certain pyrami al symmetry, its constru tion according to the ancient law of the r ad io

Later in 1 5 1 8 the decoration of th e Chigi

P of alace occupied the attention Raphael , who dre w a series of twelve cartoons for the frescos on the ceiling of the lower hall . The subj ect

C P f f of A u was upid and syche, a ter the able p l e ius r e r e s e n t z — , and the pictures p The j ealous

V C to enus urging her son upid punish her rival , f P the beauti ul syche , by inspiring her with love for an unworthy mortal 3 the enamoured Cupid shows Psyche to the Three Graces 3 Venu s in the

of a n d n for presence Juno Minerva, searchi g P C syche , who had been led away by upid , and afterwards abandoned when she broke h is com mands by looking at him while he slept 3 Venu s

O - to hastens to lympus in her dove chariot, secure

’ ’ upite r s assis tance 3 she implores him to send

Mercury to aid her 3 Mercury ﬂie s forth in search of Psyche ; Venus torments her by imposing

1 2 4 RA PH A E L .

of n quently reproduced . It is worthy me tion t S hat this work, the istine Madonna, and the

a for a C b nner the Trinit hurch , were the only

n th e painti gs which Raphael put on canvas , all

i - n remain ng easel pictures bei g on wood .

n for Ki g Francis I . gave Raphael an order t welve cartoons from subjects in the life of

C for hrist, the tapestries which he presented to

P a ft w a h for the ope . This roy l gi s ex ibited

’ P t n d St. C a many years in e er s hurch , is now in

V n of P u V . the Halls i s , at the atica . Raphael

d for of ma e sketches most these works , but com “ l e te d of p only one, The Massacre the Inno ” in of cents , showing three scenes the horror

f n Bethlehem , and power ully expressi g the de spair of the mothers and th e brutality of the h soldiers . His pupils ﬁnis ed the other cartoons

f of a ter his death, incorporating the drawings the

A t of master . They represent the dora ion the

S A of P hepherds , the doration the Magi , the res e n ta tion of in the Temple , the Resurrection C C hrist, hrist appearing to Mary Magdalene,

C t d C a t E A s c e n hris in Ha es , hrist mmaus, the

D of a sion, the escent the Holy Ghost, and

r of P labored allego y the apacy . A PH A E L ’S P H YS I 1 2 R Q UE . 5

A P E R V CH T III .

’ l t wo rs His Pe rson a l A ra n ce a n d Sur Ra pha e s La s T Yea . ppea u ” un din s Th e Tra n sﬁ ra tion . De a th of Ra ha el . ro g . g p t His Ra n k a mon g A rtis s.

’ A NTON SPRINGE R says that no artist s life passed so completely and immediately in artistic

’ of f work as Raphael s . The essence the beauti ul seems indeed to have belonged to him as a per t sonal quali y. The world brought to him only

a n d . joy, he returned as he had received He had escaped the poverty and the vicissitudes through

of which most men genius struggle upward, and was even shielded from th e malign ity of hostile

Livm 1n th e of criticism . g era Italian anarchy, he was de livered from its horrors 3 and the free lances and grim battalions Of Borgia s and Bour bons shattered each other throughout Tuscany a d - if n Lombardy, while he passed his short May l e in depicting a n d delivering his ten der and h a rmo« n n e io s messag to humanity .

f m f a n e c a e His physical ra e was eeble d d li t , 1 2 6 RA PH A E L .

f yet symmetrical . He was ﬁve eet and eight

a n d inches high, with slender arms chest, ﬁrmly f t . buil legs and eet, and a long neck His head w s t of a small and shapely, wi h heavy masses long

w f of bro n hair, a beardless ace an olive complex

w - ion , tender bro n eyes, a large and well shaped

f of f nose, ull lips , and an unbroken set per ect

f a teeth . His eatures were not regular, but gree

of able, and had an expression grace and sensi

b ilit . t y This delicate and ﬂexible beau y , charm

O f ing with its pen sweetness, was the air index to

f-s a cr iﬁc in a soul at once gentle , chivalrous, sel g, f f and ree rom j ealousy .

n He was now wealthy, and ow ed a palace in th e l city and a vi la beyond the walls , and was

f of accustomed to dress richly, a ter the manner the Roman court, whose urbane manners he had al V s so made his own . a ari says that he lived not as a painter, but as a prince . Though his care ful ly ﬁnished sonnets are not remarkable as poetic

t s C produc ions, the corre pondence with astiglione and other scholars shows that his general cultiva

f of t tion was o a high order . His hopes a taining

of d h the rank a car inal were now at their hig est, d according to some accounts , and he was alrea y

8 1 2 RA PH A E L.

a i A n o m b rilliant tr n . Michael gel was accusto ed to go alone 3 and on e day when he met Raphael W and his disciples, he exclaimed, here are you

n going thus, surrounded like a ge eral to which

fe l ie d A n d on th e his young rival p , you, al e , like hangman

' In 1 5 1 9 the following contemporary description

f f Ca lc a n in i is ound in a letter rom g , the ﬁrst sec r e ta r of P f y the ope, to Jacob Ziegler, the amous mathematician “ The very rich Raphael da P Urbino, who is so much esteemed by the ope

n of he is a you g man the greatest kindness , and f o an admirable mind . He is distinguished by

e the ﬁrst qualities . Thus he is p rhaps the ﬁrst of in r all the painters , as well theo y as in practice 3 m a n of oreover, he is architect such rare talent that he invents and executes things which men of the greatest genius deemed imp ossible . He is .restoring Rome in almost its an cient grandeur 3 for s Of , by removing the highest accumulation

a f e rth , digging down to the lowest oundations , and restoring every thing according to the de sc r ip

of h a s tion ancient authors, he so carried the Pope Le o and th e Roman s along with him as to in duce e very on e to look on him a s a god sen t NS TA N TINE F RE 1 2 TH E CO S COS . 9 from Heaven to restore to the ancient city h e r f W a ll fa r f ormer majesty . ith this , he is so rom being proud that he comes as a friend to every

of one , and does not shun the words and remarks any one . He likes to have his views discussed, in order to Obtain instruction and to instruct ” O t of f others, which he regards as the bjec li e . The last commission given to Raphael in th e

V for t of f atican was the decora ion the ourth hall ,

’ L a S a id d z Costa n tin o a n d now known as , he intended to represent there the union of the Church and State as exempliﬁed in the life of

' f f Constantine . The rescos are in imitation o tapestry, and are surrounded by allegorical ﬁgures ,

of e s portraits the popes, and small historical pictur . The cartoon of The Battle of Constantine was entirely executed by the master, and shows the E f mperor dashing orward on a white horse, with

n three armed a gels above his head, while Maxen tin s and the hostile pagan army are being driven

th e th e P into Tiber . The sce n e is at onte Molle, with Monte Mario and the Janiculan Hill in th e “ d f s of A d b ackgroun . The re co Constantine dressing his A rmy was also drawn by the mas

a n d of t ter, shows the tents the Roman roops, 1 o 3 RA PHA E L . n th e E n h is ear Tiber, with the mperor arrating m - in iraculous vision to his standard bearers , while

of the sky is the apparition a shining cross . These two grand designs were deprived of much of their boldness and strength by the coldness of th e painting, which was done by Giulio Romano . The hall had hardly commenced to show th e designs of the frescos when L e o and Raphael died, and the work was stopped by the practical

- P A VI and art detesting ope drian . But the V I f P C I . Medici ope , lement , gathered the rag

of of 1 2 ments the Roman school artists in 5 3 , and recommenced the decoration of the Hall of

Constantine . It was hardly ﬁnished when the organization of the Holy League by the Pope drew down the hot anger of the E mperor Cha r les

V . , and Rome was plundered and trampled under f for oot by the imperial troops seven months , and the rising splendors of the Renaissance were

th e annihilated . Then ensued a solitude and

of for e calm death , which rested over Italy thre f hundred and ﬁ ty years . The unfortunate execution of the Chigi fres

s f c o by his delegates , and the comparative in eri ority of some of the easel -pictures which h a d

1 2 E 3 RA PH A L. mark on re cord a s made by Raphael wa s dire cted

n f A h a A o . t t e to gelo, as be re stated s me time he frequently said that he rej oice d to have lived

’ in A o d ngelo s day, because that great genius sh we him a phase of a ft which the Older masters had n o V two ever devel pe d . asari balances the men “ f n h e i b airly, whe says that when vanqu shed y

A rt of A N in the person Michael ngelo, ature

of a deigned to be subjugated in that R phael , not ” A r t by only, but by goodness also . “ ” n The Transﬁguration is in two sectio s .

C n The upper part shows hrist rising i to the air,

f s of with upli ted eye and arms, in the midst an

ff th e ine able and supernatural light . It is at “ w n i is moment he the celestial voice cries , Th s ” Son A t my beloved 3 hear ye him . His side are

r of E ﬁgu es Moses and lias 3 while below, on A P Mount Tabor, the postles eter, James, and

z ' b th e John are prostrate on the ground , daz led y mystical light . This maj estic scene is contrasted w of th e e th e ith that in the lower part pictur , at f of f f oot the mountain , where an a ﬂicted ather has brought h is distorted and demon -possessed b o A of e o. y to the postles , attended by a crowd p

th e s i to ple . But powerle s d sciples point up “ TH RA SFI A TI ” 1 E T N GUR OIV. 33

C O n e hrist, as the only who has power over all

th e of e vil things . Their gestures join action the

of th e h two sections the picture, showing ric

of unity and deep signiﬁcance the design . The dual a rra ngement of the tr a n s ﬁgur e d group above and the sad earthly scene below has been severe l f y criticised , but Goethe has de ended it most eloquently . W hen the work was done, it was retained in

of Rome as a memorial its maker, and was kept

of Sa n P In in the Church ietro Montorio . In “ 1 797 the French troops removed The Trans ” P th e ﬁguration to aris , but it was returned to

V 1 1 e n r atican in 8 5 . Countless copies and g a v ings have been made during the last three cen tur ie s , and scattered over the world . The picture is valued by experts at “ The Transﬁguration wa s the last and the

’ of if noblest Raphael s paintings , we except “ Si ” The stine Madonna, with which it stands

s u in unapproachable premacy, above all other

t of achievemen s pictorial art . The coincidence

two has already been noted , that the last pictures which th e mas te; painted of Christ and Of the Madonna leave them in th e profound splendor I H L 3 4 RA P A E . of a n their heavenly gloriﬁcation , portrayed with inspired art which is at once inimitable a n d ind e ‘ “ A s P : . scribable . assavant says These two mas te r-pieces are those that have excited the most constant admiration and the warmest veneration during three centuries throughout all Christen ” dom . A f ter these almost miraculous achievements, f no urther advance seems to have been possible , h . W even to Raphael y, then , need he linger to feel himself falling slowly from his proud emi‘ n e n c e , and to decline into an old age surrounded A d with enemies , like Michael ngelo ; or exile fa r f t L rom his beloved I aly, like eonardo ; or t P u ? Wh shivering in chill a heism , like er gino y

f of need he stay to see the down all art in Rome , and the mournful destruction of the fair city ? It was decreed that his gloriou s life should have

- of no anti climax decadence . From the very empyrean of his fame and honor he was u s hered i f d w h O e nto the li e immortal , there to ell , let us p , t with the saints and sages , apos les and heroes, whom his glowing imagination had so Often por tr a e d th e r e s e n e of th e l y , and in very p g B essed

V d on irgin a n her Divine S .

I 6 3 RA PHA E L .

e a fth e l on , so it is to be b lieved that his sou is now adorning heaven .

A wa s lthough generally doubted , this story not

for Lon h e n a disproved three centuries , until g , in

1 8 2 d 3 , ﬁrst emonstrated its high improbability,

‘ ’ a n d th e n published the true account of the arti s t s A é C f death, which the bb ancellieri received rom

’ an ancient manuscript in Cardinal A ntonelli s

’ Ca muc c in i A library, indorsed by . ccording to

a this narrative, which is the only one ccepted by

’ c on s titu modern biographers , Raphael s delicate tion and limited physical strength had at that time been taxed to the uttermost by his labors in the studio and among the ruins . He was one C P day busily at work in the higi alace, when he

for was sent at court, whither he hastened at

n great speed , being impatie t at the interruption .

’ : Sole dz M a r z o r e The Romans have a proverb ,

' ’ ' ’ 12 z l za t a mma z z o V p g , . He arrived at the ati

for can breathless and perspiring, and remained

o some time in one f the cold and draughty halls, consulting wi th the Pope about the new works

’ P f v t n t C . o S . eter s hurch He quickly elt a iolen chill , and returned home, where he was imme dia te l t t f y pros rated wi h the ever. RA P H A E L ’ S B E Q UE S TS .

The entire population of Rome was agitated at the sudden peril which menaced the beloved

— e master, him who had done so much to mak f P d their city amous . The ope reste under the

d of f sha ow the general anxiety, and sent requent messages of encouragement and his solemn bene diction . The sickness lasted but eight days . t Raphael sank rapidly, and soon realized tha

f w a s his earthly li e near its close . He arranged

' te m or a l a ffa ir s his p with tranquillity, and named f as executors his old riends, Baldassare Turini

’ Br a n c on io A Of of P and dall quila, ficers the apal fu V court . The beauti l house near the atican C was bequeathed to ardinal Bibiena, who was f then in financial di ficulty, and at odds with the

’ P of S f ope . The kinsmen the anti amily, at d Urbino, received a thousand ducats in gol 3 and the old paternal estate went to the Brotherhood

f ‘ o Santa Maria della Misericordia . The works of art in his studio, and the unﬁnished commis ft sions at Rome and elsewhere , were le to his f avorite pupils, Giulio Romano and Francesco A P . enni large bequest was made to Margherita,

La ha d Fornarina, the maiden whom he loved so

s o o e s long and well, and to wh m h was alway

n n co sta t . 1 8 A 3 R P H A E L .

A fter having thus settled his aff airs with the w f th orld, he received the last sacraments o e

C 1 hurch , and commended his soul to God . 0 :

of A 6 1 2 0 the night Good Friday, pril , 5 , Raphael

d at of - die , the age exactly thirty seven years .

The Pope was staying that night in the apart ments of the Vatican which Raphael had erected for d f him, when sud enly they ell into ruins , and he had scarcely escaped from the oin in ous wreck when the tidings came that the great master was dead . The Roman legend says that the Pontiff

Or a r o 7205 221 burst into tears , and cried out, p ; as if the artist had already become a canonized saint .

The E ternal City was plunged into grief 3 and the bereft disciples arranged th e body to lie in

f t state , on a cata alque surrounded by ligh ed tapers , with The Transﬁguration overhead . Here his f f for riends came , in mourn ul groups , and looked / f in the last time on the sweet and beloved ace , f w a the presence o his crowning ork . The gre t light of the city had been extinguished . Count “ Castiglione wrote to his mother, It seems to me r that I am no longer in Rome , since my poo

I 0 4 RA PH A E L .

Bembo composed the followi n g epitaph for the tomb Of his friend

D . O . M .

RA PHA E LI SA NCTIO IOA NN F URB INA ’I‘ I

PICTORI E M INE NTIss VE TE RVM Q A E MVLO

Cvrvs S PIRA NTE S PROPE IM A GINE S SI

CONTE MPLE RE NA TVRA E A TQ VE A RTIS F OEDvs

F A CILE INSPE XE RIS

IVLII II E T LE ONIs X PONT MA XX PICTVRA E

E T A RCH ITE CT OPE RIBvs GLO RIA M 3 A VXIT

e A NN os XXXVII INTE GE R INTE GROS

Q vo D IE ' NA TVS E ST E 0 E SSE DE SIIT

VIII ID A PRIL Is M DXX.

ILLE H rc E ST RA PHA E L TIM VIT Q vo SOSPITE VINCI

E N E T M IE T M I RE RVM MA GNA PA R S O R N E OR .

D i a te d to Ra h a e l a n z io th e s on of i ( e d c p S , G ova n n i of

n o th e mos t e min e n t a in te r wh o e mul a Urb i , p , te d th e a n cie n ts In wh om th e un ion of N a tur e a n d A r t is e a s il . y

‘ v H e in cr e a s e d th e l or Of th e Pon tiffs u pe rce i e d. g y J lius

h w r f a in tin n d r h . a u II a n d L e o X. b is o ks o a c ite c t r y p g e .

- ive d e x a ctl th ir t s e ve n e a r s a n d die d on th e v H e l y y y , a n n i

0 ve r s a r of his b ir th A r il 6 1 20. y , p , 5

Livin r e a t Na tur e fe a r e d h e mi h t tv g, g g ou ie H r works a n d d in fe a rs h e s lf o e e t die . , , y g, r ) H A E ’ B RA P L S LA ORS . 1 41

When Lomazzo of Milan gave symbols to the

r e of g at painters the Renaissance, he assigned to

of Mantegna the serpent sagacity, to Michael

A of a n d Ra ngelo the dragon contemplation , to

h a e l of of in ca r p the ﬁgure a man , the emblem N nate intellect and graceful strength . O artist wa s ever endowed with such a power of assimila

th e tion as this one , who gathered and blended f f true , the beauti ul , and the good , rom Umbria and Florence and Rome, and placed them on the

of l glowing canvas . Yet he avoided all taint e c e c

i ism ri f t c . , a d was ever the same in himsel

’ A n gelo s best work was done when he was s ix

’ t — of itia n s f y seven years age, T a ter his seventieth ’ f h f a d . year, and Murillo s a ter he passed ﬁ ty But into the short Springtime of the lif e of the Ur b in ese painter was compressed an enormous amount

- of f . work , enlightened by a ully ripened judgment The prodigality of invention and the accuracy in design in his paintings are continued through d countless original rawings, which are overﬂowing

- d with conscientious brain work and earnest stu y.

of of Raphael is at the head the art painting, b - d e ~ ecause , although not pre eminent in all its

a rtme n ts x a n d p , he combined more e cellences 1 42 RA PHA E L f f h e ewer de ects t an any other paint r. In drawing

n ot h l A h he could surpass Mic ae ngelo, though e f had no other peer. In chasteness o design h e resembled the ancient Greeks , attaining a mar

n of a vello s symmetry, a wisdom selection, and close adherence to the best natural and ideal

f n m . o e odels The expressive heads his m , the

s s apostles , martyr , and aints , are among his

a r e noblest works . His ﬁgures personiﬁed emo tions , delicately and inimitably shown in all their

ti f grada ons , and illuminated by the rare aculty which he had of placing himself in imagination

i t under similar c rcumstances with his subjec s .

of s e u In the quality grace , the ma ter was so “ dowed as to have won the name of The new ” f A pelles . This trait appears in the tender aces

f of and delicate orms his Madonnas and children, where modesty and purity are portrayed with a charming freedom of execution and an evident

f of innate acility comprehension . In coloring and Chiaroscuro he may have been

f C fa r in erior to Titian and orreggio, but was in ad vance of Michael A ngelo and his other con

t of P S temporaries . The por raits the opes how

in his best work this regard, since in them he was

1 44 RA PH A E L . collateral episodes with the main action of th e picture . “ Schelling says that Raphael takes posses s ion

O s w of the bright lympus, and carrie us a ay from ' — earth to the assemblage of the gods beings

f of th e permanent and use ul . The prime most

d f w f of i cultivate li e , the s eet ragrance magina t u of d ion , and the vigoro s power min , all breathe forth from his works . He is no longer a painter he is at once a philosopher and a poet . His wis dom equals the power of his mind 3 and things are ordered in the everlasting decrees just as he portrays them . In him art has reached its goal 3 and, as the human and divine can be purely bal a n ce d on e of at point alone , the stamp uniqueness ” is impressed on all his works . A LIST OF

RA P H A E L’ S P A I N T I N G S

’ I NOW IN E XISTE NCE , WITH TH E DA TE S OF TH E R E XE CU

H I P SE T LOCA TIONS. TION, A ND T E R RE N

' ' The in te r r og a tzW mn t af te r a title sig n iﬁe s th a t M: pictur e it

’ r eg a r de d a s a m t/te rriﬁc by ta n : or mor e cr itics , wlule othe r : ma in

A L IT Y .

ROME 7716 Va tica n — Th e T a n s ﬁ ua tion 1 1 —20 , r g r , 5 9 ; th e M a don n a of F oli n o 1 1 2 th e Cor on a tion of th e Vir g , 5 3

in I 0 e de ll a - ictue s of th e A n n un cia tion th e A dor a g , 5 3 3 pr p r , tion of th e Ma i a n d th e Pr e s e n ta tion 1 0 th e A s s um g , , 5 3 ; p

- tion Fa ith H o e a n d Ch a rit r e de ll a ictue s . Tb e ; , p , y, p p r

Sta n z a Ra /za e l Th e ol o th e Sch ool of A th e n s Pa r of p , gy, , n a s s us a n d uris rude n ce e x e cute d 1 08 - 1 1 th e E x ul s ion , J p , 5 3 p

Of H e liodorus M a s s of Bol s e n a Re ul s e of A ttil a a n d , , p ,

- Lib e a tion Of St. Pe te 1 1 2 1 a n d th e H a ll s of th e r r, 5 4 3

In ce n dio a n d of Con s ta n tin e de cor a te d b his u il s fr om , y p p his de si n s th e Lo ie I 1 - 1 6 th e Ga ll e of Ta e s g ; gg , 5 4 3 ry p

- - trie s twe n t on e in n umb e 1 1 1 . , y r, 5 5 9

B a r ﬁe se P a l a ce — Th e E n tomb me n t 1 0 th e Ma r g , , 5 7 ;

ria e of Rox a n a I 1 Ca din a l Bor ia Ra h a e l P. B a r g , 5 5 ; r g ; p ( ) 1 45 1 46 RA PH A E L.

' ’ — oe r zm P a l a ce La F o n a r in a I 1 1 . A ca de m o St. Luke , r , 5 y f ,

' — ~ t. m: zn a S Luke a n d the Vi in a r tl . La Fa r Ga , rg (p y) ,

u i a — l a te a 1 1 C d n d Ps ch e 1 1 8 1 . La te in S cia r r a , 5 3 3 p y , 5 9

ol omza P a l a e — Th i - n t C c e V ol in Pl a e . S a a a r ia de l l a , y r M — Ra M os a ics a n d s ta tua r . S a n ta M a r ia del P o ol o m y p ,

‘ ’ Sib ls a n d P o h e ts I 1 . St. A on zozo Fr y r p , 5 3 g , e se o of

Is a ia h I 1 2 . , 5

F LORE NCE — Pitti P a l a ce — Por t a its of A n e l o a n d , r g

M a dda l e n a D on i I 06 Po e ulius II . 1 1 1 Po e Le o , 5 3 p J , 5 ; p

X. I 1 8 Ph a dr a In hir a mi I 1 Ca din a l Bib ie n a th e , 5 ; g , 5 3 3 r ;

Vis on of E z e ie l I 1 don a de al a c chin o i k , 5 3 ; the Ma n l B d ,

1 0 M a don n a de ll a Se dia 1 1 6 Ma don n a de ll a Gra n 5 7 ; , 5 ;

’ Duca 1 0 M a don n a de ll Im a n n a ta I 1 2 La Forn ar i , 5 4 ; p , 5 3

n a I 1 8 . , 5

‘ U z z Ga l l e r — Portr a i of a La d 1 1 2 ul ius IL ﬁ y , t y, 5 ; J ,

- 1 1 1 St. ohn in the . e s e rt 1 8 1 5 3 J D , 1 5 9 3

a don n a de l a de l i o I 0 M C r l n , 5 6, — a d m o t. a r Tw o ks 1 0 . St. f ia A c e y f S M k o m n , 5 6 a f , Fre s co of th e La s t Supp e r

— - MILA N. L O S osa liz io 1 0 wa te r col or s ke tch of , p , 5 4 ; n ude ﬁgure s .

’ ’ - — t o mmon se In f t a PE RUGIA . S t. Pie r o a e C a n e sus n d , J

‘

I . n eve r o T in it a Ca r t. oh n b e for e 00 S a S h e Tr n d S J , 5 , y — e lite M o ks 1 0 . B r e s cia Pa x Vob is 1 0 . e r a e m n , 5 5 , , 5 5 E g

- o St. e b a stia n 1 0 . B ol o n a St. Ce ilia 1 1 1 . m , S , 5 4 g , c , 5 3 7 ' — zttd d e l Ca r te ll o Ba n n e of Sa n ta T in ita 1 00. C , r r , 5

' ’ — useu H l i NA PLE S. N a tzon a l M m o F a m l of Na l e s , y y p ,

1 5 112 3 M a don n a a n d Sa in ts ; Ca rdin a l Pa s se r in o Te b a l de o (P).

1 8 4 RA P H A E L .

- P a mHa n a r Lo d Cow e — Ma don n a 1 0 Ma do g ( r p r), , 5 5 ; n

' n a de lla Ca s a Nicolin i 1 0 . B l e n ﬁe zm P a Za ce Ma don n , 5 7 , a

’ e de i A n s ide i. B owooa , Pr e de ll a of th e Bl e n h e im M a don

' r — n a . B a r on .Hzl l , Pie t31 . C/za r l cote P a r k, Th e Ma r ' — uis of Ma n tua 1 1 1 . Le z k Com Ch r is t Be a rin th e q , 5 g m g ' — Cr oss ulius Ma don n a A l mozcé Ca s tl e Ma d0n o ; J ,

n a with the Pin k St. Ca th e in e a n d M a r Ma da le n I 02 . ; r y g , 5

E RMA G NY.

BE RLIN M SE M — S oll Ma don n a 1 0 1 Ma don n a U U , _ y , 5 ;

with Sts . e ome a n d F a n cis I 0 Te r r a n uova Ma don n a J r r , 5 3 ; ,

c oi Bamb in i I 0 Ma don n a de ll a Ca s a ol on n a 1 08 ( ), 5 5 ; C , 5 ;

Pie ta 1 0 St. L odovico St. E r col a n o I 0 Diota l e vi , 5 4 ; ; , 5 4 ;

Ma don n a A dor a tion of th e Sh e h e ds r . S id e r ; p r D p , — A Ca rthus ia n M on k.

M U NICH PINA KOTH E K — H ol Fa mil of th e Ca n i i , y y g a n i F a mil I 06 M a don n a de ll a Te n da 1 1 6 Ma don n a y, 5 ; , 5 ; of th e Te m i Fa mil 1 06 Ba tis m a n d Re su e ction of p y, 5 ; p rr

' Chr ist two doub tful ictur e s Bin do A l toviti 1 1 2 Por ( p ) ; , 5 ;

tr a it of a Ma n 1 0 Sma ll H e a f e s coe d on a b ick I 0 . , 5 5 ; d r r , 5 5

DRE SDE N M S E M Th e Sis tin e Ma don n a I 1 8 . U U , , 5

A USTRIA .

VIE NNA BE LVE DE RE — H ol F a mil a 1 Ve de 1 0 , y y r , 5 7 ; — Ma a m E ste r h a z a lle r . t. a a re t. Pestﬁ don n f o G S M rg , r y y

RUSSIA .

— — M E B . e mita e a l e Th e A lb a a T. PE T RS RG H r P a c S U g ,

n a th e Sta ffa Ma don n a the H ol F a mil with don , ; y y LIS T OF PA I N TI 1 N GS . 49

th e Be a r dl e ss St. ose h I 06 Portra it of Ol M J p , 5 3 d a n ,

a n n a z a r o i St. Ge or e 1 06 . (S ) ; g , 5

’ Nume r ou: othe r p ictur e : in P a r r a oa ut : lon g l is t of doublful " Ra pha e l: a r e r eg a r de d a s g e n uin e ‘yr oductiou: a the g r e a t ma s te r by com t pe e n t mode r n cr itics , such a : Wa a g e n a n d Wor uum but it se e m: in e x pe die n t to g ive he r e the title : of the se con tr ove r te d pa in tin g s . ﬁ ' The 7t zctur e s n ow in A me r ica a ttr ihute d to Ra yha e l a r e n ot me n tion e d in h is th y ' r t e l t, he ca us e e pr a /3 of the ir a uth e n ticity a e n ot e a s ily

a cce ssihl . T t h h . a e h e P ie h , w ic w a s pur cha se d hy M r . 7 7 m“ , a ud is n ow in Y l - a l l a a the a e Colleg e G l e ry , is un doubte d y n e r ly wor k of

Th e a uthor w ill we l come co rr e ction : a t to a n y poin t in which the

1 2 5 INDE X.

6 ‘ a th L o The Julius 11 . 34. 43. 4. 5. O of e , 93.

yur zlspr ude n ce , 48 . Pa ga n Re viva l , ’ f l Kn ig ht s D r e a m, 20 . Pa la ce o Ra ph a e , 7 1 .

P a r a s sus Th e . n , , 47 La st Sickn e s s , 1 2 7. c um, 1 0 7.

u a 1 1 2 8 . L a t S u r 2 . P e r s ppe , 7 gi , ,

Le on a r do da Vin ci 26 2 0. e r umo 1 1 . , , 9. 7 g , 4, 44, 5 ue of Ra h a l 1 2 . Le o X . 6 6 1 1 . Ph s e , , 74, 94, 7 y iq p , 5 ’ tur cch io 1 . L e tte r oa n n a s 2 . P n , J , 3 i i , 9

P r tr a it of Ra ha e l . L oggie , Th e , 8 8 . o p , 3 4

u l . L o Sp a s imo, 1 1 1 . P pi s , 1 0 5

’ R l B ibl . M a don n a , A B a , 53 . a pha e s e , 8 9 1 ' s A ldohr a n d in i, 5 3 . Re yn old s, 8 1 J o h ua , 88 .

R ma n ch ool Th 1 06 . A lf a n i, 1 9 . o S , e , R me a k of 0 1 A n s ide i, 2 8 . o , S c , 45, 1 6, 30.

B a ld a c ch in o, 37. Summon s to, 40.

B a mb in i, 2 7. R ox a n a , 1 0 1 . i o B e l le Ya r d n ier e , 36. Rusk1n qute d, 49, 5 1 .

B r idg e w a te r , 5 9. 1 Ca n de la hr a , 1 0. S t. Ca the r in e , 3 5 . '

o . il ia 1 Ca r de ll zn , 3 0 S t. Ce c , 78 , 5 5 , 1 0 . a Ca s a Col on n , 3 6 . S t. F ra n cis , 1 3 .

Ca s a N icol in i, 3 6 . ’

o or 60 . D zw n A m e , . S t. yoh n , 1 23 t ha E s e r zy , 3 7. S t. L uke , 59 .

n o . . a 1 . F ol ig , 5 5 S t M a r g r e t, 1 6 r uca 2 h a G a n D , 7. S t. N ic ol s Tole n tin o, 1 8 .

a n a a 60 . I mp n t , S t. P a ul a t A the n s , 9 7. ta n d i w ith Ye sus S n g , 59. a n d B a r n a ba s , 97. ’ L or d Cowpe r s , 2 7. in P r ison , 97 .

to . r o L or e , 5 5 S t. P e te , Cha r g e t , 96 . n M 1 i e a d ow , 3 . D e l i ve r a n ce of , 75 . ’ a n s . r h Or le , 3 4 St. Pe te s Ch ur c , 8 0, 8 4

P a r l 1 1 2 . h a r e , S t. S tep e n , M r ty dom

l P . de e s ce , 62 . a l a de l Ca mb io, 1 8

S e d ia 1 0 . Sa l a di Costa n t n o 1 2 . , 9 i , 9

S a ll 1 . n n z a r 2 y , 9 a a o, 6 8 , 7 . '

S ta a 2 0 . ﬂ , a n ta M a ria d e l Popolo, 56 . e 1 S is tin , 1 9 . a n ta M a ria de ll a Pa c e , 75 .

Te m i 1 . 1 1 p , 3 S a n ti F a m ly, 7, 3 7. lla Te n da 1 1 o de , . S a von a rola , 3 5 , 42 . M a don n a s Fl or e n tin S , e , 39. ch ool of A th e n s , 47 . R ma n o , 54. S culp tur e s of Ra ph a e l, 8 2 . M a i r C a la . a S e a s tia n o 1 1 . g i , 9 b , 3

M a i oh ca 8 . S n a tur a F re sc s , 3 eg o , 44 .

M a rc A n ton io 2 . b ls . , 5 Si y , 75 M a r h e rit 6 1 g a , 0, 3 7. S i e n a , 1 9 . M a s a c c o 2 6 S mon e Cia rl a 1 1 8 i , i , , 3 7, 3. M e d l ci Ca r din a l , , 73 . Sis tin e Ch a p e l , 50 , 5 7. ’ M e dic i L ore n z o d e 1 1 1 , , 1 6, 8 . S is tin e M a d on n a , 1 1 9 . M z a cul us D r a u 1 r o ht . S x tus IV. . g , 95 i , 4

on te fe ltr o 8 . 1 M , S olly ﬂi a d on n a , 9. l Sposa iz io, L o, 2 1 .

Na va ge ro, 6 7, 72 . Sta n z a , L e , 44, 63. 1 INDE X . 53

Ta dde o Ta dde i 26 1 . Udin e Giova n n i da 1 1 0 , , 3 , , 9 , 7 . Ta in e , 8 8 . Umh n a n Sch ool , 1 3 .

a e s trie s . r 1 2 2 T p , 95 U b mo, 8 , 7, 2 , 7, 3 2 .

Du l ca te s 1 00 . p i , f n c is 2 or F ra 1 4. Va ll omb r osa , 3 4.

Th e r h stor 8 . Va s a ri 0 . i i y, 9 , 5

Te ld o 2 . b a e , 7 Va tica n , Th e , 43, 8 7.

Th ol 6 . V n u n e ogy , 4 e s a d Cup id Se rie s , 1 08 . - Th r Gr a c e s . Viol i r 1 e e , 33 n P la y e , The , 1 8 . T f l 1 omb o Ra p h a e , 39 . Vis zta tion , The , 1 1 3 .

Tr a n s ur a tion The 1 2 . We a lth of Ra ha e l 8 126. ﬁ g , , 3 p , 3 , T1 11 119 B a n n e r 1 1 . , 7. Tun m. 72 .

A P R E F C E .

TH E true life of Leonardo da Vinci h a s n ot ye t been

i l d a n d w its th e f it ful a n d dis i li d chron c e , a a a h c p ne precis ion a n d tireles s nes s o f a German p e n to d o it

imm a n d P s s t d n for jus tice . What Gr a avan have o e

A l a n d l s m u t m of t i s th e nge o Raphae , o e co n ry an he r , on

ld a n d id l i s of P us s i mus t m lis for co ar p a n r a, acco p h

In th th e eldes t of th e great artis tic triumvirate . e

tim we ma d th e Vin cia n i i s mean e , y rea b ograph e by

us s a n d t i u M M . Rio a n d A s e H r ne o aye , enjoy he r bea tiful l u a n d tic t uh ts m l s i ang age poe ho g , ore p ea ng, cer ta in l t th e D s dus t T ut i w ks but l s s y, han rya e on c or , e philos ophic a n d les s proﬁtable . In our own language we h ave th e common place l ittle

m s s i W . B w i w itt . b ography, r en by J ro n, any year nce a n d th e bright a n d agreeable Leonardo d a Vin ci a n d ” M r . C. C. his W ks dit d b M r s . H t a n d or , e e y ea on

Bl k a n d ulis d in L d in 1 8 . B s id s ac , p b he on on, 73 e e t s s d w fa c ts f m th e w itin s o f he e book , I have ra n ro r g

A m tti B s s i L d L m z z o B or h in i G ore , o , an on, o a , g , aye,

s i i Ri ollot - B1 Clé m t S t d l Via rdot Ro n , g , anc, en , en ha , , P E F C 4 R A E .

C w a n d Ca va lca s e ll e T i W a n d th e ro e , a ne, aagen,

‘ delightful old Vas ari: Th e foun da tion s of my s ketch

’ ' res t on H ous s a ye s H is toir e de L e on a r d de Vin ci

P is ( ar , W e ma y eas ily collect th e chief ex ternal facts of

’ L d s lif b ut in h is i i m i s eonar o e, nner be ng he re a n a

l i m s t d d s m a s a n in te lle perp ex ng y ery, regar e by o e c

l utt ﬂ li tl t s ti th e s w ts of l i tua b er y, gh y a ng ee earn ng, a n d avoiding contact with th e nobler b ut more terrible

l ms w i it t d E u in h is da wh il t s prob e h ch ag a e rope y, e o her dream of h im a s pos s es s ed by deeper a n d profounder

u ts t m to th e me n of t s tui s tho gh han ca e ho e cen r e , a

in th e i h s t s s o f th e w d ﬁll d wit th e seer, h g e en e or , e h

’ If h d n o m glory of in e ﬁa b l e vis ions . he a t pas s ed os t — of h is life in a provincial city if he h a d n ot s pread h is energies over too wide a ﬁe ld if he h a d n ot been

' s o pleas antly indolent a n d s ocially popular - what might h e not have accomplis he d ?

M F SWE E TSE R. . .

LE ONARDO DA VINCI.

A P E C H T R I .

’ ’ Th e Ca stle of Vin ci a n d its In ma te s . Ve roc chio s Studio. Le on a r do s lf— Firs t A chieve men ts . A Socie ty Fa vorite . A Se A ppre cia tive

Le tter .

TH E f of f second hal the ﬁ teenth century, the l ong hush of peace and prosperity before the

of f a breaking the Re orm tion storm , was the

of dd A golden era the Mi le ges , during which the early Medicean poets of Italy wrote their immortal pages ; while the gr eat ecclesiastical

C ft L t E hie ains, u her and Reuchlin , rasmus and the

w t w of t Medici , ere preparing heir eapons spiri ual

f n t th e war are , or passi g hrough deep experiences which ﬁtted them for the heroic contests so close

t a hand . The richest blooming- time of art was also f ound during these decades , when Raphael and

A o r h ow ngel , Titian and Giorgione, we e learning 8 LE NA RD oD VI O A N CI . to f prepare their celestial colors . The eldest o L V this marvellous group was eonardo da inci , th e m - ma n ost versatile and many sided , and in v respects the extraordinary, representative . most of me dimva l W L z o Italy . hen omaz assigned e of mblems to the artists Italy, in the realms of z oiilo mythology , gy, and the metals , he gave

’ L r P th e as eonardo s epresentatives , rometheus , lion , and gold .

L 1 2 eonardo was born in 45 , at the little castle of V V of A inci, which stood in the ale the rno, n ot fa r f Pisto ia n f rom the j rontier, and hard by

L . 1 8 2 S the Fucecchio ake In 5 , tendhal rever

n ently visited the ruins of this ancient buildi g.

’ L f Se r P V eonardo s ather was iero da inci, a

of of notary the Florentine Republic, and a man

h n inﬂuence and position, t ough not yet twe ty P f ﬁve years old . iero was married our times , ’ f but Leonardo s mother was not h is wi e . Her C name was atarina ; and , in later years , she m A cc a tt b r i a V arried a certain a g del acca, and

Le o b n . ecame an ho est woman But, although n ardo was illegitimate , he was legitimized and

’ brought up among Piero s eleven lawful chil

m e t of th e f m dren, and beca e the p a ily, on

I o LE ONA RD O DA VIN CI. a n d - of star jewelry, the vast expanses verdure and

n of their an ual changes, the blue river autumn

of - and the tawny ﬂoods spring time . His impulse towards natural science was very strong, and grew with his dawning youth . He advanced a theory in later years , that sons are usually like their f if mothers , and daughters like their athers 3 and, f C there is reason in this hypothesis, the rail ata rina must have been a remarkable woman , worthy P V to have enthralled the young iero da inci .

P of iero was proud his brave boys , and brought a V pedagogue to inci, to teach them in the sub

’ j e cts with which a gentleman s children should f L u be amiliar. But eonardo was disting ished above them all by his insatiable questionings ,

for searching on all sides knowledge , and never V content save with clear demonstrations . asari “ f f says that, In arithmetic, he o ten con ounded the master who taught him , by his reasonings and by the difﬁculty of the problems he proposed . His ardent observations in the Open ﬁelds and on the rocky heights were echoed by his earnest

’ labors in the librar y and over the student s desk

n d ife n e to on e a his l seemed co s crated obj ect, to kn ow H IS E A RL Y YE A RS . 1

his m f o From earliest years , he devoted hi sel als m to music, and quickly learned how to i provise t both words and melodies , and to ﬁll the ancien halls of the castle with the sweet harmonies of the lute and guitar . This , indeed, was not enough to satisfy h im 3 and he invented a new form of hi f the lyre, with w ch to develop resh ideas in harmony . f In those happy days men ripened ast, and entered the battle of life before they passed their teens . The artist learned to draw by drawing, h the musician by playing, the poet by r yming,

for and not by being told, years , how to do these

of l e e things . The reign the academy and the ture was yet fa r away 3 and genius made its own f f rules , and elt its own way, slowly and pain ully,

n sometimes indeed wro gly, but, in the long run , f surely and reely .

A f n f L lmost rom his i ancy, eonardo had been f of fr e ‘ amiliar with the use the pencil , and he quently turned aside from th e drudgery of mathe

e f mati s to amuse himsel by drawing . The same paper which held his columns of ﬁgures and let te r e d angles was adorned with simple bits of land‘

e or in e e A t t sca p qua t littl ca ricatur s . las the se 1 2 LE ONA RD O D A VI N CI: sketches attracted such attention that Se r Piero

of f A carried several them to his riend, ndrea

Ve r oc ch io f i of , a amous art st Florence , who was m t a azed at their originali y, and strongly advised

th e that youth should become a painter.

’ A 1 0 L f f bout the year 47 , eonardo le t his ather s

m d -sh O of Ve r occh io ho e , and entere the picture p , that kind old master wh o held his pupils as his w children , and taught them ith a consecrated zeal . His dry and precise manner reﬂected the

of hard and cold school early Florentine art, with f i its con used composition , na ve sentiment, and

n melancholy coloring, and an exact ess derived

Ve r oc ch io from his long practice in sculpture . was also a musician and a geometer, and thus had many points of contact with his dis cipl e but his chief excellence was in architecture and “ sculpture , and in making exquisite religious j ew e lr c ruciﬁx e s of y, , statuettes , and cups gold P L ’ f r and silver. robably eonardo s atal ve satility, which prevented his attaining supremacy in any f thing, was ostered and stimulated by his master, when it should have been restricted . He became great in many things , but greatest in none .

’ A mong Le ona rdo s fellow-pupils were three

1 4 LE ON A RD O DA VIN CI .

resolved to paint something terriﬁc, and collected

0f i t a in his room a number l zards , new s, sn kes,

-flie s hedgehogs , bats , locusts , dragon , and other f creatures , and rom these drew a hideous monster, surrounded by fire and breathing out poison and f . a c flames He was orced to hasten the work, on

of th e f f count oul stench rising rom his models .

P h e f iero , when ﬁrst saw the painting, ﬂed rom the w room in ild consternation . He gave the rustic t an ordinary shield, and sold the pic ured one to

for 1 0 0 th e a merchant ducats , who gave it to

f r 0 0 Duke of Milan o 3 ducats . It has been lost for almost four centuries . O L nce more eonardo supped on horrors , when he painted the ‘ Medusa ’ s Head ’ which is now in

Uﬂi z i the Gallery, with a head covered and made

e S horriﬁc by hissing and interlacing gr en erpents ,

- glassy and death like eyes , and a mouth distorted A with agony, and breathing out poison . nother

of i f~ u picture th s time , showing the hal length ﬁg re of an angel , is now among the small Tuscan pic

n Ufﬁz for tures i the i Gallery . It was painted the

Grand- Duke Cosimo but afterwards disappeared f rom the palace , and was bought by a merchant for e in e schi for t -two six c nts, who sold it to F six y ce nts . ' I E 1 FIRS T A CH E V M E N TS . 5

‘ The picture of Neptune was another long-lost

’ w of L ork eonardo s youth , which met with high L praises, and was inscribed with a quaint atin

- quatrain . The god appeared on the storm tossed

- waves , drawn by sea horses , and attended by a

of . A group nymphs, winds , and marine deities

‘ ’ cartoon of A dam and E ve was admired on a c count of its groups of animals and great variety of

f of vegetation, the exuberant ﬂowers and ruits “ P f V for f e x e aradise , whereo , says asari , care ul cution and ﬁdelity to nature , they are such that

- there is no genius in the world, however God like , which could produce similar results with equal ” for r truth . This cartoon was made a tapest y cur

of for tain , to be woven in Flanders , silk and gold, the King of Portugal 3 and was acquired by the f Medici amily, but is now lost . ‘ The Madonna della Caraffa ’ was another pic

of time . fa mous for ture this , the exquisite beauty of V the dewy ﬂowers in a vase near the irgin.

P C VII r ope lement . held this as ve y precious 3 and

th e P 1 8 6 it was seen in Borghese alace as late as 4 , s ince which it has disappeared . The Madonna n ow C Buon visi L e in the asa , at ucca, was anoth r e a ture A m n th e o a the rly pic . o g p rtr its which 1 6 LE ONA RD O D A VIN CI .

f f master made urtively, by ollowing their subjects around until their features and expressions were

f l V of thoroughly ami iar, asari speaks the charcoal

of A V a n head the venerable merigo espucci , and

of other picture the Gipsy Captain Scaramuccia .

‘ ’ A o of th e Uﬂi z i The d ration the Magi, now in ,

of was another the early Florentine works , and

of i the last the group . The art st admitted many f visitors to see this picture be ore it was ﬁnished ,

’ a n d their praise was so hearty that he left it as it

f . stood, lest by urther additions he might injure it

of It was one his largest sketches , and , although

c olor s ~ h a ve its bituminous blackened, and some

f for parts are only outlined, it is a avorite study artists . The Florentine manner of Leonardo illustrates his manner of designing with the pencil and ar

f of ranging perspective . The chie masses shade

s f were made by bituminous color , rom which , and in the most delicious harmony, he brought out the f need ul lights .

He was accustomed to leave his studies betimes , and wander through the streets of Florence in

of r of search st ange and expressive countenances,

e h e f -h e d d which, wh n had ound them, rapi ly seize

1 8 VI LE ONA RD O DA N CI . tha t it is only by modelling that a painter can learn

of the science shadows .

’ The many accomplishments of the notary s s on t made him very popular in Florentine socie y, and his easy good- fellowship secured him friends among

of C all classes citizens . learly, a youth who was

if d « beaut ul on the promena e , magniﬁcent on horse

of back and terrible with the sword, had the best

f of e credentials to the air ladies the city, who wer m oreover charmed by his beauty, his poetry and f m . usic, and his grace ul dancing He was sought

- at all the balls and promenades , the riding parties

V of A in the ale rno , and the musical entertain ments 3 and such were his powers of fascination

c on te m or ~ that he wa s called the magician . His p a

of ries said that he was the handsomest men , and his rich costumes were always in keeping with his personal presence . L F eonardo spent about eleven years in lorence, having set up a studio of his own a fter he left Ve

1 t m rocchio , about the year 477, al hough his na e had been registered in the Red Book of th e Com

f P His f pany o ainters ﬁve years earlier . ather had

c o n r to th e advan ed in imp rtance , and was now ota y

d a n d se e e se so a h e Me ici to v ral r ligious hou s, th t A 1 A S OCIE TY F VORI TE . 9

V t gave up his home at inci , and ook a house in Flor

d of h is ence . But the young artist live in a place

u d s s . own , and contin e his experiment and studie

d a n d i d He receive but little patronage , was not not ce

\ L ’ d a by orenzo de Me ici , the gre test noble and art patron in the city . But the time thus given to him was bravely improved in perfecting himself in manly accomplishments , and in that intimate com munion with the best Tuscan society which gave him an unrivalled reﬁnement and a wonderful f E o . charm manner ven at this early time , with “ s his limited mean , he lived in grand style , keep ing many servants and horses , in which he took d ” great elight He admired spirited horses , and possessed remarkable skill in their management .

He was also ve r y tender- hearted towards ani “ V s : W mals , as asari thus prettily prove hen he w d w passed places here bir s were sold, he ould f f a n d requently take them rom their cages , having

d th e d d d for pai price eman e them by the sellers , would then let them ﬂy into the air, thus restoring ” h a d to them the liberty they lost . “ He who cannot do what he will , must will that ” L ~ which he can do , said eonardo , and made end less experiments to ﬁnd where his possibilities 0 2 LE ONA RD O D A VIN CI. e l nded . His labors at painting and his continua social recreation were not enough , and during this period he studied mechanics , designed mills and

r e other hydraulic machinery, and made deep searches in military and naval engineering . By

of h e systems levers, screws , and cranes devised

of t f methods get ing water rom great depths, rais

- ing heavy weights, and dredging sea ports and

for f channels . He also made plans a canal rom P A ’ Florence to isa, by changing the rno s course

ai two at cert n points , which was done centuries

V : later. asari was right when he said He would if have made great proﬁts, he had not been so vari ” able and unstable . A t L last, however, eonardo desired greatly to f seek a change , and to leave the neglect ul Medici, in favor of some more liberal and understanding f L patrons . He there ore addressed to odovico

Sf of f orza, the Regent Milan, the ollowing long and remarkable letter

M Y M OST ILLUSTRIous LORD : Having seen a n d duly considere d the e x p e rme n ts of all those who repute themselves masters and constructors of i me e a n d warl ke instru nts , and that the inv ntions

2 2 LE ONA RD O DA VIN CI . f r right to the enemy, with serious inju y and con f usion .

5 . Item . I have means by excavations and straight and winding subterranean ways to come n to any given [p oint]without oise , even though it be necessary to pass under moats and rivers . 6 . Item . I make wagons covered, secure and indestructible , which , entering among the enemy

of with artillery, there is no multitude armed men s o great that we shall not break through 3 and back of these the in f a n try p a n follow safely and without impediment .

n 7. Item . The need occurri g, I shall make can

ﬁe ld- of f non , mortars and pieces most beauti ul and f f iff f use ul orms , d ere nt rom the common usage .

8 W of im os si . here the operations artillery are p

b a listm ble , I shall construct mangonels , , and other

of f of engines , marvellous e ﬁcacy, and out the common use 3 and, in short, according to the

of variety the events, I shall build various and

of ff inﬁnite means o ence .

A n d 9 . when it shall happen to be upon the sea, I have means of preparing man y instruments most fﬁ f e cient in attack or de ence , and vessels that shall make resistance to the most powerful bomb a rd ment 3 and powders and smokes . T LE T E R. 3

1 0 of f . In time peace I believe I can satis y very

u ‘ well and eq al all others in architecture , in design

d ‘ ing public e iﬁces and private houses , and in con w f ducting ater rom one place to another .

r of Item . I can car y on works sculpture , in

‘ - te r r a cotza . marble , bronze , or , also in pictures I w can do hat can be done equal to any other, who ever he may be .

A of lso , I shall undertake the execution the bronze horse , which will be the immortal glory and

of of eternal honor the happy memory my lord,

f of of Sf . your ather, and the illustrious house orza

A n d if any of the above - mentioned things seem i ff f mpossible and impracticable , I o er mysel most

of ready to make experiment them in your park, E or in whatever place Your xcellency shall please , lf ” to whom , as humbly as I can , I commend myse .

This self- reliant letter is written from right to f O h le t, in the riental manner, with a t oroughly L ’ original orthography . eonardo s boast that he was equal to any living artist was not an empty

A o t one, because ngelo was still young and alm s

n k wa s n . u nown, and Raphael but just bor 2 4 LE ONA RD O DA VIN CI.

A P E C H T R I I .

our n e to Mil a n h W Th for za cil ia a n d n J y . T e e lcome . e S s. Ce L

u ul s cr e z ia . Th il l z i Th ustria n ta t e . ture . e V la M e . e E q e S Sc p i l F e s t va s . Fli h fr a r g t om W .

TH E Regent of Milan made no delay in summon

of ing to his court such a man men , whose brain conceived with equal skill Madonnas and iron

A l - - clads, pol os and siege batteries , church shrines

- P and pontoon bridges . erhaps he also knew that

’ Leonardo s feet were as ﬁrm in the stirrups of the war- horse as they were graceful in the dance on palace -ﬂ oor s 3 that his hand could bend an iron

- of horse shoe , or touch the delicate strings the lyre with magic skill ; that his eye was as quick and efﬁcient in the tournament or the sword- play as in melting the hearts of Italian beauties ; that his voice was as ready for the discussion of A rchi medes or A ristotle as for singing improvised love

s of sonnet , or wooing the not unwilling ladies the

A t th e of 1 8 1 L court . close the year 4 , eonardo

wa s ummon e i a n d e e f . s d to M lan, w nt hith r joy ully

2 6 NA RD O D A VI LE O N CI .

’ e r silv r ly e , shaped like a horse s head, designed

m f of V by hi sel , and capable giving increased ibra A tion and sonorousness to the sounds . sort of L musical tournament ensued, when eonardo van

uish e d q the Milanese minstrels , and was hailed

fu im r ow is a tor e of m as the most wonder l p his ti e . Th e sovereign attested his appreciation of the talents of the Tuscan by granting him an annual

of salary ﬁve hundred ducats , with many pres ents and perquisites besides .

The Regent wa s fascinated with his new r e “ ta in e r , and declared that his speech was like L 11 singing . odovico (called Moro) was super stitiousl y devout and marvellously sensual , his ascetic penances mingling with outbursts of reck

r oﬂi a c — less p g y, poisoning his nephew, killing f his wi e by neglect, and kneeling alternately f be ore the Madonna and his mistresses . He w ’ already kne the master s merit in art, being

of f the possessor the amous painted shield, and probably desired him to establish a school of art

of in Milan , to increase the splendor a capital

f r own which he had marked o his .

D of Sf uring the heroic age Francesco orza, Milan had comma n de d th e se rvice s of many E F RZ A 2 TH S O S . 7

famous architects and sculptors , but no painters of note 3 and when Lodovico assumed the r e

e n c t of g y, during the minori y his nephew, h e endeavored to make up this deﬁciency,and to do for Milan what th e Medici had done for Flor

of ence . Yet while he was the despot the people ,

n d h is he was ruled by his women , who i ﬂuence every act ; and Houssaye thinks that Leonardo f strove to re orm this gilded barbarian , by appeal

f of ing to him in the lo ty voices the sister arts . Cecilia Gallerani was at this time Lodovico ’ s f reigning avorite , and her portrait was executed L A f i by eonardo upon his arrival . copy o th s tu A L pic re is preserved in the mbrosian ibrary . The original portrait was praised by the court w C i f poet, in a glo ing sonnet . ecilia was a sk l ul musician and poetess and it was perhaps on that account that the master portrayed her also as St. P f f C t . o ecilia, in a pic ure owned by ro Franchi,

Sh e . of Milan , and noticed by Rio was a lady

a n d brilliant talents , made a good marriage with C P did L ’ ount ergamino , which not abate odovico s

A fe w L love a whit . years later, eonardo executed

’ Cecilia s portrait at the height of her glory 3 and

Pa a m this work is now held by the llavicini F ily,

Sa n Ca l o e ro at c . 8 2 LE ONA RD O D A VIN CI .

L e for C eonardo paint d ecilia another picture , containing the Blessed Virgin (perhaps a portrait of f C e the lady hersel ) and the hild J sus, who is

f of blessing a reshly blown Madonna rose , one the

f 1 8 0 A o St. C . symbols ecilia In 4, moretti saw this marvellous picture in a wine - sh Op at Milan 3

1t but has since disappeared , and not even a copy remains . Lucrezia Crivelli was another mistress of Lodo

wa s L vico, and her portrait painted by eonardo , and n L ho ored with three highly eulogistic atin verses .

l n L It was long supposed that the picture the ouvre ,

L a B ell e F ér r on iér e of Lu called , was the portrait c r e z ia d , but some mo ern critics rej ect this theory,

Be n ci one calling it Ginevra , another Madame

Fé r on of , and another the Marchioness Mantua . There are also those who maintain that this is Lu

’ c r e z ia s r portrait, which was pu chased and brought

P Sh e to aris by Francis I . is seen to the waist, handsomely dressed , and wearing a black cord a f f d cross her orehead , astened with a iamond . f The ace is at once proud and melancholy, with a f warm and brilliant coloring and so t pure lines,

f of the head ull light, and even the shadows trans

a r e n p t.

0 A A 3 L E ON RD O D VIN CI . facade there still remain fragments of a coloss al

C a ttrib ute d to e Madonna and hild, the sam hands, and callin g forth the most extravagant praises f 1 6 of rom early visitors . In 79 , a party soldiers

' of ~ bivouacked under the walls the villa, and the

of - ﬁr e s smoke and heat their camp , built against th e f - acade , blackened and well nigh ruined the f resco . It is believed that the house thus adorned is the same th at was occupied by Leonardo for

M a rte s a n C some years , while supervising the anal ,

n which was convenie tly near the locality . The Melzi f s V amily had two establishment at aprio , the palace and the canonicate, and probably the master

of hired one these . Here he enjoyed the most

r e intimate social communion with the Melzi, and

of newed his studies rural nature . He also devoted many mon ths to the consideration of ancient writ P ’ E ings about tolemy s canals in gypt, and the works of the E mperor Trajan in improving river

f Nic 0 ue dia navigation , by which he ormed p into a

of port the sea . From thence also he made ex c ur sion s - r b f in the lake count y, and o tained resh

of of Dr Wa a revelations the beauty the earth . . gen is of the Opinion that the contemplation of Lake Como a n d th e A lps had a ma rked e ffect on I 1 TH E E Q UE S TR A N S TA TUE . 3

L ’ d eonardo s art, especially as regar s the back

grounds of his pictures .

1 8 L d In 4 3 , eonardo began to mo el the grandiose

of Sf equestrian statue Francesco orza, and was

for engaged upon this task more than ten years ,

’ C r reading ancient writers , studying lassic statua y, and above all closely examining every movement f f o live horses and every muscle o dead ones .

of He made a vast number drawings , exhibiting

if a o horses in repose , as on parade , in the ﬁerce

of t . tion the charge , and in various other posi ions

of Many these drawings are still preserved, espec

ia ll W y at indsor Castle . He also tried to design a group in which Death should appear at the

of triumph , but the national character the monu f ment made such an idea seem too antastic . He

“ of M 2 f A SS . d o wrote on one his , The 3 pril .

I 0 49 , I commenced this book , and recommenced

’

. f the horse How many times be ore , in his exact

f f u h a d ing search a ter the per ect ideal bea ty, he begun this great work ? Indefatigable toiler though

a n d d he was , luminous in genius , he advance but

a n d t to slowly achieved but lit le , because unable satisfy his high ideals and unwilling to stop short of f per ection . 2 3 LE ONA RD O D A VIN CI .

’ N0 one knows what the design for Francesco s

for f monument was , a ter the master had devoted

th e n o t ten years to making clay model , it was put into bronze , and twenty years later it had A f disappeared . beauti ul little wax model was

’ destroyed and also th e master s book of studies

of on the anatomy horses . A s a sculptor Leonardo won great fame ; and

ovius Pa ciol o J and , his contemporaries , held that he was more excellent in that department than in

L of painting . omazzo writes the divine expression and adorable grace of the heads which he mod

’ e ll e d of L 3 and Houssaye , speaking eonardo s head

“ of L of wax , in the ille Museum , says , I know noth o f ” ing m re beauti ul in Greek art . His anatomical f studies were long and care ul , as regards both men

n f of and a imals , and gave him a vast und knowl

n P edge i this department . resident Thiers pos

d 1n i r sesse an exquisite statuette vo y, showing the

of rarest knowledge the muscles , which has gener L ally been attributed to eonardo . The rapid changes then going on in the great Cathedral rendered it necessary to remove the

f r o St. C w a relics lo u , hich were under the last cade 3 and Leonardo arranged such an ingenious

LE A D D A 3 4 ON R O VI NCI .

A bout th e same time he began the treatise on lights and shadows . He doubtless derived much assistance from Di Giorgio . in the plans which

Lom he was engaged upon , to strengthen the bard fortresses so that they might successfully th resist e heavy artillery then coming into use . Leonardo devised another protection against his

’ master s enemies , by inventing a steam cannon ,

th e A r ch iton itr o L of called , or ord Thunder, the plans for which have been found among his p a W e “ Oh pers . ell may Ham rton exclaim , , splen did Leonardo ! the many- sided ! a narrower na d f ” ture might have yielded more abun ant ruit .

of of A L In the year the discovery merica, eon ardo was engaged in planning and executing great works of hydraulic engineering; for the purpose of utilizing the waters of the Ticino River in irr iga t f ing the dry plains o Lombardy . He visited

S C V P Ve e va n o esto alende , aral iombo , g , and “ other towns , and noted where in winter the

A of d vines are buried . picture the Ma onna,

St. St. with John and Michael , now in the palace of C Sa n V P the ount itale , at arma, is inscribed

’ 1 Dur L 2 . with eonardo s name, and the date, 49 in th e a me r a e th e g s busy year, the master ar ng d FE S TI VA LS 3 5

jousts and tourn aments given to the Duke by L Sanseverino . This was the same noble ombard

for whom Leonardo built a palace in Milan .

Now a t , also, the versatile artist made his ﬁrst

tempts a t engraving . During the same year the gentle and saintly

’ d E ste L wh ose . lice n Beatrice married odovico , tious manners and sensual court she sensibly

ameliorated, although he would by no means give L up his mistresses . eonardo organized and con

f of ducted the estivities the wedding, and built

’ and de corated the bride s apartments in the vener

a C f ble astello della Rocca , besides a beauti ul bath

room in the garden , adorned with mosaics , col

t of D A ored marbles , and a sta ue iana . delicate

’ drawing of Beatrice s face now in the Ambrosian

L t L e x ‘ ibrary, a tests eonardo s skill in catching

of pressions 3 and another and larger portrait her, in the same collection , is attributed to his hand . O nly ﬁve years later, the master conducted the f ceremonies at her uneral , which the chronicler “ u ” describes as most stupendo s obsequies . When the E mperor Maximilian married the

of th e of th e 1 sister Regent Milan , in year 493 , th e ma ster a gain showe d his in gen uity in con triv “ NA RD O DA VI LE O N CI .

‘ in b a r Th e c e f f f h g rilli nt pageant y . hi e ature o t e decora tions wa s the clay model of Fra n ce sco Sf ’ orza s equestrian statue , which was placed under

f th e a triumphal arch , in the great square be ore

s of a ll castle , and was saluted with the praise “ ” Le t ! F l ua t a s Italy, the brass ﬂow ( cried a n n e e thusiastic po t, urging that the bronze

t e if th e s atu should be cast speedily ; but, ever m f s aterial was collected to ound it, the necessitie of Milan rendered it expedient to melt the brass

r a Pa ciol o into cannon . F estimated that ten tons of metal would be requisite ; and the Duke could ill afford such extravagance for mere dec ‘

of th e orations . The designer work delayed its

m n e co pletio so many years , in reﬁning and r touch ing, that when he was ready to reproduce it in

n e during metal , the means were altogether lack

of n ing . In one his letters , complai ing that his s for alary had not been paid two years , he said,

S of I shall not peak the horse , because I know ” Wh th e times . en the French army entered Mi

1 f lan , in 499, the model was shame ully mutilated by being made a target for the arrows of th e

” a in x n two Gascon rchers 3 yet it was still e iste ce ,

' ' a s l w n th e D ke of e r a r a o de re d ye r ater, he u F r r

8 LE D 3 ONA RD O A VIN CI .

P o lectures in avia, and exp unding the doctrines of L Galen , then almost unknown 3 and eonardo

- ﬁlled a book with red crayon sketches , outlined

of with the pen , subjects revealed in his own “ ” V “ dissections . In this book , says asari, he f t set orth the entire struc ure , arrangement, and

of f disposition the bones, to which he a terwards i added all the nerves in the r due order, and

of w next supplied the muscles , hich the ﬁrst

a ﬁ x e d are to the bones , the second give the

of p ower cohesion , or holding ﬁrmly, and the f Of third impart that o motion . each separate ” h e part, wrote a description , in rude characters . A ll these drawings were in the collections in h e r ite d f an d and scattered by the Melzi amily, the red-crayon sketches are now in the British royal

Dr . library . Hunter highly praised the exactness “ of L e c these drawings , and cited them in his ” 8 L 1 . tures , published at ondon in 7 4 The enlargement and improvement of the Mar tesan Can al was begun and carried on while

’ ‘ L S b e The ast upper was being painted , and

’ came Le onard o s most important work in hy dr a ulic e n gineering. The canal is two hundred

l n a n d b n s th e wa e of th e A a mile s o g, ri g t rs dd A D E A R DIS CIPL E . 39

through the Valtellina and across the Chiavenn a

f of district , contributing greatly to the e rtility

of N of the garden orthern Italy, that land glori

. th e ous richness and beauty, over which rise hi f w te spires o the snowy A lps .

1 r e fe c In 497, besides his work on the great

or i misc e ll a t y picture , the master n ade many n e ous of drawings , mostly an anatomical charac f o . ter, with heads saints and dignitaries He also engaged earnestly in the great engineering works , by which it was sought to make the rocky bottomed and rapid river A dda navigable b e t Br iz z io ween and Trezzo . It is probable that he planned the canals and dykes which after wards accomplished this obj ect .

’ S i Sa l a in o L i h ala , or , eonardo s dear pup l , w om he called his son , is ﬁrst mentioned during this year . It is thought that the master painted many

’ of f h his angels heads rom t is disciple , whom

“ Vasari describes as a youth of singular grace

of a n d and beauty person , with curling wavy hair, a feature of personal beauty by which Leonardo ” was greatly pleased .

1 6 1 L From 49 until 499, eonardo dwelt in the same h ouse with the celebrated Fra Luca Paci 40 LE ONA RD O D A VIN CL

010 of D e D ivin o P r o or tion e f r , author the p , o w th e hich artist made sixty drawings . This book wa s 1 0 not published until 5 9, when it received a de a n to Sode r in i f n f F dic tio , the Gon alo ier e o lor “ . Pa ciol o f a V ence wrote the amous epigr m , inci

h e s n n [ conquers], in sculpture , in ca ts , and i pa i t ” in g veriﬁes his name with each. He ha d come

’ f L s u e s rom Florence to Milan , at eonardo s gg

two a n a n tion , and the compatriots made e r est d

o prol nged researches together .

t of f The s orm war, always atal to the arts ,

Lo . of suddenly broke over Milan , when uis XII

D of n France, claiming the uchy by virtue his bei g V f of u . a grandson the isconti, its ormer r lers , took possession thereof with a powerful army. A year L later, odovico attempted to regain it , but was

te n betrayed by his army, and spent the last years of his life in a French prison at Loches .

’ Between the time of Louis s advance and the

f of D L m ﬁnal all the uke , eonardo obeyed his cal “ ” F f s ! maxim , lee rom torms and remained in

V t quiet seclusion at th e illa Melzi . He also sen

ﬂ or in s f P C six hundred , in dra ts on iero apponi and Taddeo Gaddi , to be deposited to his credit a t th e of S a r N o a in l o Hospital anta M ia u v , F r

~42 LE ONA RD O DA VIN CL

C A P E H T R I I I .

Th e La st Supp e r .

TH E Dominican monastery of Santa Marl a delle Grazie was the favorite sanctuary of the pious

D L Cr ive l uchess Beatrice , and whenever ucrezia li ’ s inﬂuence was not in the ascendant the Duke had large works of reconstruction and embellish

M on torfa n i ment carried on there . had already

i C f r pa nted a alvary in the re ecto y, and on either side thereof Leonardo placed kneeling portraits of L odovico and Beatrice , and their children . These h f pictures ave aded out entirely, leaving blank

C . spaces , while the alvary still remains

The Grazie Church had a miracle -working

’ Sa n C image , like that in elso , and Beatrice s pro f ome d ﬁtful ound devotion , j to the pietistic moods

of us e . her h band , gave great honor to this shrin A t one time it seemed as if Lodovico was deter mined to make the convent as rich and splendid r P C a s the Cathed al and the avian ertosa, which TH E L A S T S UPP E R . 43

o l e ft a s the preceding dynasty had its monuments .

A - e vVe ll e r s rchitects , sculptors , artists , and church j , were set to work there ; and rare beauties were n w S smg to cro n their labors . uddenly all this

for f L C was stopped, the air ucrezia rivelli rewon D ’ ff D the uke s a ections, and the poor uchess was f le t to pine and pray alone . ‘ The Last Supper ’ was probably begun in the

’ 1 6 f of f e year 49 , in the re ectory Beatrice s avorit

f of convent, and became the noblest mani estation a theme in Christian a r t which had been neglected f since the days o Giotto . Beatrice used to come C to the Grazie hurch almost daily, to abandon herself to pious meditations before the tomb of D the good uchess Bianca, and when she died, the melancholy and remorseful Lodovico raised a

o r splendid monument to her memory . He also dered a hundred masses for the repose of her soul

for for to be said each day a month , and urged ward the decorative works in her favorite sanc

r L tua . y eonardo , no longer drawn away to court f 1ve e easts , now had time to g his de pest thought to ‘ L S ’ The ast upper, whose grand signiﬁcance he fully felt . This masterpiece was painted in about three 44 LE ONA RD O D A VIN CI .

a e m 1 for ye rs . It had be n com enced by 497 3 the convent architect in that year entered a charge “ for works in the refectory where Leonardo is

’ A 1 8 painting the postles . In February, 49 , Fra

a i l P c o o wrote to the Duke that it was ﬁ n ishe d .

n of L of The impatie ce odovico , born his remorse

a and sorrow, spurred the rtist on to such pur p ose that he ﬁnish ed this immen se work in less time than he gave to the sin gle head of Monn a

Lisa . Leonardo made a cartoon of the whole compo

u of of sitio , and separa te studies each the ﬁgures , L executed in p a stel , which omazzo says was a

r n favorite method with him . Count A c o a ti a c f quired these studies , which a terwards were pur chased by the British Consul a t Venice 3 and ten of them are now in the Russian Palace o f the

Hermitage , having been owned successively by f Sir Thomas Lawrence and the King o Holland .

Three others were sold to an E nglish lady . The Prior of the monastery could n ot c om prehend Leonardo ’ s long meditations before the

te picture , and endeavored to inci him to more

D e constant labor, complaining also to the uk ,

who he n s e for he n a rt . Le t t reupo nt , t laggi g ist

6 4 LE ONA RD O DA VIN CI .

n f o many be eﬁts received rom his Master, had p s sessed a heart so depraved as to be capable of

‘ L C of betraying his ord and the reator the world . W ith regard to that second , however, he would f if make search ; and a ter all , he could ﬁnd no

for better, he need never be at any great loss , there WOll ld always b e the head of th at trouble

h e some and impertinent Prior . This made t

Duke laugh with all his heart . He declared Le on a r do to be completely in the right ; and the

P fo poor rior, utterly con unded , went away to drive

. f L on the digging in his garden , and le t eonardo ” kp ow in peace . It is pleasant , however, to that the popular belief that the artist did actually P thus punish the rior is incorrect, because that prelate ’ s face was described in the monkish Latin of his time as quite different from that of th e depicted Judas . Bandello says that Leonardo often went to the ff convent at daybreak , and painted on his sca old f ing until the evening came , so per ectly absorbed f A that he never thought o eating or drinking. t other times he would remain three or four days

for or without touching it, only coming an hour two a n d m a m o e m' , re aining with crossed r s, c nt P THE LA S T S UP E R . 47

if s m f plating his ﬁgures as critici ing them hi sel .

s I have al o seen him at midday, when the sun in the zenith causes all the streets of Milan to d f be deserte , set out in all haste rom the citadel , where he was modelling his colossal horse , and, wi i thout seek ng the shade , take the shortest road to th e fe w convent, where he would add a strokes ” of d to one his hea s , and then return immediately.

’ Gir a ldi tells of Leonardo s manner of . securing models for h is heads 3 and that after long medita t a g e ions as to the rank , , and expressions proper

u of to each s bject his pencil , he used to sally out

a n d th e a on the streets, scrutinize p ssers , trans ferring to his sketch - books such traits as he could

r after wards reunite fo the desired head . More

‘ ’ t of L S han any other his works , The ast upper was founded on prolonged out-door studies of this character .

‘ ’ The general plan of The L ast Supper is fami f liar to every one , rom the innumerable copies

r h th e and photog ap s which have been made ,

L O i on e e n r a v noble copies by uini and gg , the g

of M or h e n a n d D ings g ick, and the countless duplicates in costly mosaic and in coarse wood

t C s cuts , sca tered by myriads throughout hri ten 8 4 LE ONA RD O D A VIN CI .

S His A e dom . The aviour and postles are s ated a t b a n d , or standing y a long table in a high f stately hall , with their aces or proﬁles turned

O n th e f towards the spectator. extreme le t is

m of St. Bartholo ew, rising at the end the table 3

n A St. L St. James the ess comes next 3 the ndrew, St P k f holding up both hands 3 . eter, with a ni e in

- S m t. his hand 3 Judas , holding the oney bag and u S P C a t. . John , t rning sadly tow rds eter hrist is S T h t. in the centre , and on His right is homas wit f h St. t e upli ted ﬁnger ; James Greater , his arms o St P e utspread 3 . hilip , with his hands on his br ast 3

St e . Matthew, pointing to the c ntral group 3 and S a t of th e St t. the end table , . Thaddeus and

S f s imon . The ﬁgures o the apostle are depicted f with grand and power ul naturalism , showing the

’ profound agitation aroused by the Saviour s amaz . for ing words . The moment chosen portrayal is “ h h : A n d that w ic St. Matthew thus describes as

V o they did eat, he said, erily I say unt you , that on e of you shall betray me 3 and they were ex ‘ c e e din f on e of g sorrow ul , and began every them to L P say unto him , ord, is it I The head of Christ caused Le onardo to devote

m f o e o w a e the con hi sel to l ng m ditati ns, r pp d in

0 LE O A RD V 5 N O D A IN CI .

Herein we see the high demands made upon f himsel by this conscientious master, whom Ham “ erton well calls a transcendentalist in art, and D “ olce characterizes as a sublime genius , always ” discontented with his own works . The rapid deterioration of the great painting was due mainly to the injudicious manner in

w L rm n in i which it a s ex ecuted . omazzo and A e both state that it was not done in tempera but in o of f e x e r ils , and doubtless in one the unsa e p ime n ta l methods which the master was always

r fe w of ff t ying . But works art have su ered such deplorable vicissitudes as this, which the wrath of the elements and the folly of man seem to have

1 1 conspired to destroy. In 5 5 , it was still per fe e t 3 and King Franci s I . was so struck with its beauty that he made many attempts to ﬁnd archi te cts f who could detach it rom the wall , and ef transport it to France , d ended by braces and

f e u covers o iron and wood . Failing in this de a vor L , he had a copy made by uini, which was

’ f St - l A ux e r r ois o . placed in the Church Germain ,

P -ﬁve A r me n in i a t . aris Twenty years later, said

f 1 8 L that it was hal destroyed 3 and in 5 5 , omazzo “ ” th e m mourned it a s utte rly min e d . In ean A T P E 1 THE L S S U P R. 5

m t h a d f ti e , an inunda ion laid the re ectory under

for a l re a d r water many days , and saturated the ,

A fe w C d damp walls . years later, ar inal Borro meo said that only the relics of the picture

1 6 2 C n remained visible 3 and, in 4, the arthusia

Sanese found nothing to be seen there . The monks o f the convent aided in the destruction by cutting a doorway through the lower part of t he f of C picture , thus removing the eet hrist and h t e n e arest apostles .

1 2 6 D In 7 , the ominicans employed Belotti, a me

e dio re artist, to restore the picture , and he painted

- it fe w of . all over, except a hand breadths sky A ﬁf bout ty years later, another bungler in colors , one Mazza, was set to work here , and overlaid the

f r e whole resco with a neutral color, on which he f St painted everything except the heads o s . Mat f S . thew, Thaddeus , and imon Be ore he had pol luted these , the indignant Milanese compelled him

h P f s t e o . to stop , and rior the convent was bani hed

’ 1 6 N In 79 , apoleon s cavalry turned the hall into a

of d r stable (in spite express or ers to the contra y), a n d the troopers amused themselves by throwing bricks and shooting pistol -balls at the heads of the

ih A o . p stles Four years later, there was another 2 D A I 5 LE ONA R O D V N CI. u a n d th e f r for ndation, re ectory laid unde water

f D A of ﬁ teen days . uring the ustrian domination

L th e ombardy, the imperial arms were nailed on

th e of C Sir D wall , over head hrist 3 and avid “ Wilkie wr ote z Here time has been mo re un sparing than is his wont a shadow is a ll that re m i ains o this once great work .

A t e S of A one tim Bossi, the ecretary the cademy,

of P e E V called the attention rinc ugene , the iceroy of m Italy, to the ruined picture , and was co mis sion e d of of th e to make a cartoon it, the size

f Le on a r original . He recomposed the work rom

’ e do s drawings and the old r copies , and a mosaic

f i n V e was executed there rom , and is now a ienn se

1 8 church . In 53 , the original was repainted by

Barozzi, and so thoroughly that Taine said, thir

‘ ’ L S n o teen years later, that The ast upper was longer visible .

Le o The photographs show the picture , not as n f r e ardo le t it, but as the restorers have utterly

of colored it, so that none the present coloring is f f o . the ﬁ teenth century But the general design , th e o o th e of c mp sition , and harmonious grouping

’ Le s w a r e a n d a e onardo ork still apparent, m k

Fe w e ve n this thin a thing of de a thle ss be a uty.

R DA 54 LE ONA D O VINCI.

P E I V C H A T R .

i ll n i l n n n B ott ce i. Mo n s e rvi Re turn to F ore ce . Pe rugi o a d a L a . S ce

ia r Mi h a l A n l o h a with Borg . Riva l y with c e ge . T e C rtoon s.

E A RL 1 0 0 L r e - Y in the year 5 , eonardo entered f f o . Florence , a ter an absence nineteen years During this time Savonarola had fought his battles f and lost his li e , and the Medici had been driven o int exile , where they were ceaselessly plotting

Old of against the Republic . lights art had van ish e d — P , Baccio della orta into a convent, and

L C of orenzo di redi under clouds despair, and

- S new ones had risen , Francia, ignorelli, Filip L S t P pino ippi, andro Bot icelli, erugino 3 and Mi Chael A ngelo and Raphael were just advancin g f L into ame . But eonardo was recognized as the f of for th e r e n own of oremost all these , his works ' h at Milan a d long preceded him . He settled in t f the ci y, and shared his house with his old riend, i l S Pa c o o if . Fra , and the beaut ul youth, alai

Pe old a e a t ime rugino visited his comr d this t , RA PH A E L A ND B O TTI CE LLI . 5 5

r t h im and pe haps led wi h his bright pupil , Raphael f S t o b . Ur ino omehow, at leas , the youth came

’ L tu of under eonardo s inﬂuence , and his pic res this period strongly reﬂect the manner of the elder

of artist . There is a portrait a young man , in the

Ufﬁz i f f Gallery, which has o ten been re erred to

’ Leonardo s hand ; and Bottari is highly of the

O pinion that this youth was Raphael . A L f nother artist whom eonardo o ten met, in f S t b riendly guise , was andro Bot icelli, his senior y

fe w d for f a years , and alrea y celebrated his rescos

S of C . Da in the istine hapel In one his writings ,

V of h is f inci speaks Botticelli as riend, and regrets

f - his depreciation o landscape painting . Fra Bar

’ tol omme o L also came under eonardo s inﬂuence ,

f r w t soon a te ards , and derived the grea est beneﬁt f of rom studying his manner painting . The Servite monks had commissioned Filippin o

Lippi to paint an altar- piece for the A nnunziata C L L hurch , and when ippi heard that eonardo had

for expressed a wish that work , he graciously with f drew in his avor . The monks took their new artist into the convent, with all his household, but he delayed the execution of their picture for

ﬁn a e the of a long time, and lly produc d cartoon 6 RD D A VIN 5 LE ONA O CI .

‘ A n f — St. C The Madonna, nna, and the I ant hrist, A L which is now in the Royal cademy at ondon . “ Vasari says that the chamber wherein it stood

for was crowded two days by men and women , old f and young ; a concourse , in act, such as one sees k f ﬂoc ing to the most solemn estivals , all hastening L to see the wonders produced by eonardo, and

in which awakened amazement the whole people .

But the impatient artist did not paint a picturh f rom the cartoon , and the monks were obliged to

- L P get their altar piece done by ippi and erugino .

A nother beautiful work of this time was the por~ r of R of f of t ait Ginevra enci , one the most amous the Florentine beauties , who was also painted in f ’ f S two o C . Ghirlandajo s rescos , at the assetti hapel

’ A m Re f L erigo nci, her ather, was eonardo s land

d f fa lor , so that he requently saw the ir lady, and

‘ her portrait is now in the great Uﬂiz i Galle ry

of r Rosini, the historian Italian art, had anothe

’ of f L charming picture Ginevra, rom eonardo s

’ easel . The arch smile pe culiar to the master s f emale portraits still broods on her sweet lips , and s f i echoed rom her tender and languid eyes .

There is a very beautif ul female head by Le o~ . n a r o in th e A u r a le r w i o a e d , gsbu g G l y, h ch H uss y

8 L E ONA RD O D A VI 5 N CI . wh o ta hes l e a s ur e in be in a dmir e d Th e p g . hands a r e of conspicuously shown , and are most exquisite

r shape , but have become ve y dark in color . In deed, the whole picture has deteriorated in this regard, and we no longer see the vivid carnations and warm ﬂ e sh - tints which fascinated the contem

or a rie f p s o Francis I . The background is a brilliant dream of A lpine scenery 3 and the entire work is so exquisitely ﬁnished that we may well believe th e

of L statement the ancients , that eonardo devoted f u our years to this single pict re . The ‘ Monna Lisa ’ was retained by Leonardo b ’ (and not y the lady s husband,) until he sold it to the French King for the enormous sum of three thousand golden crowns Says Vasari “ L f Monna isa was exceedingly beauti ul , and while L eonardo was painting her portrait, he took the precaution of keeping some one con stantly near her, to sing or play on instruments , or to jest and m otherwise amuse her, to the end that she ight

\ f f continue cheer ul , and so that her ace might not exhibit the melancholy expression often imparted by painters to the likenesses they take . In this

’ of L h portrait eonardo s , on the contrary, t ere is

n e o a n d a i e so ple a si g an expr ssi n, sm l so sweet,

S E R VI E WI TH B R I C O G A . 59 that while looking at it one thinks it rather divine ” n of C tha human . Rio , the historian hristian art, “ regarded the Monna Lisa as one of the rarest

’ chefs - d ce uvr e that ever issued from the pencil of ” of C ‘ an artist . It was duplicated in hundreds opies ;

d f of attesting the a miration o all schools art .

1 0 2 Cae D of In 5 , sar Borgia, the usurping uke

of Romagna and Urbino , who was ambitious being

K of L h is e n ing Italy, appointed eonardo general

in e e r f g , and sent him out to inspect the ortresses in f his domains , bearing the ollowing commission “ C aesar Borgia of France By the Grace of

D of Va l e n tin ois P of God, uke Romagna and , rince

A L of P our dria, and ord iombino To all lieu

f - f tenants , castellans , captains, ree lances, o ﬁcials , d sol iers , and subjects , to whom this notice shall

s come , we commit and command that to our mo t skilful and worthy A rchitect and E ngineer- Gen

L V s eral , eonardo inci, who by our commi sion is to examine the strong places and fortresses of our

S d th a n w e v for a c tates , in or er may pro ide them

d t cording to their need and his ju gmen , they may give free passage and exemption from the public

- t for t tax du ies , both him and his company, and hat

h im a s f h im they shall receive a riend, and allow 60 LE ONA RD D VIN O A CI .

m i to see , easure , and examine as much as he w ll .

A n d to this : effect let men be summoned to his requisition , and lend him whatever assistance , aid f ” and avor he may wish . Well compensated and honored by this liberal rufﬁ a n , the master made extensive and proﬁtable

C of f travels throughout entral Italy, which he le t

f 1 0 2 . o many notes In the summer 5 , he designed n e w stairways and ramparts to the Citadel of Ur f m P bino 3 and a ter that ti e we ﬁnd him at esaro, devising machinery 3 at Rimini, admiring the

of f C n t music its ountains 3 at ese a, planning be ter methods of transporting grapes 3 and at Cesena

r e tico , arranging to make a new gateway . He

of turned to Florence by way Imola , Faenza, and

Forli 3 and thence undertook an excursion to C P f hiusi, erugia, and Foligno, making care ul s tu of S u dies a clock at iena, and noting the reg lar cadence of the waves on the sea - shore at Piom m bino . He probably did something at this ti e in an art which he had successfully practised in Lom

of f bardy, that ounding cannon . It appears that

’ L Bor ia s eonardo also painted g portrait, which the

1 8 Count de Betz recognized a t Bologn a in 45 .

’ D ri th e n e um Cae a l fa e u ng xt s mer, s r Borg a s th r,

6 2 LE NA RD O DA VIN C O I.

f f C o St. O hurch no rio . The picture has recently P been restored, on a gold background , by alma roli . A t last Michael A ngelo and Leonardo da Vinci were placed in direct competition with each other,

Sode r in i Gon fa l o when , who had been elected

for f 1 0 2 f of niere li e in 5 , and had been the riend

of both , commissioned them to adorn the walls the Great Hall in the Palazzo Vecchio with two A large mural paintings . ngelo chose a scene in

P of the isan war, where a company Florentine soldiers were surprised by the enemy while bath ing in the A rno 3 and thus sought opportunity to w f f exhibit his kno ledge o the human orm . But

L of f of eonardo , one the most skil ul equestrians , had studied the structure and habits of horses until he was altogether familiar with them 3 and

for so he chose his subject a cavalry combat, where men and horses were raging and struggling

' a - of in pell mell conﬂict, blind with the thirst

‘ ’ of S blood . The Battle the tandard was an

of of A episode the battle nghiari, which the Flor

- entines fought against the North Italians . The master worked on his cartoon in the Hall of the . N e t i P e C of Sta . a a n op , at the hurch M ri ov lla, bu E F THE S TA D D ’ 6 B A TTL O IV A R . 3 such a dilatory manner that it was not ﬁnished

of 1 0 6 until the close 5 . He was allowed a salary

of f ﬂorin s of ﬁ teen a month , and the assistance W several other painters . hen the two master

pieces were exhibited to public view, the Italian

- di art world was ﬁlled with vehement scussions , and all Florence hastened to compare the mighty

of Ra h works . It was a duel Titans in art , and p

ael was a spectator. Both the cartoons have now

. of of r e vanished, and only copies parts them m of L ain , that eonardo being a reproduction by

‘ Rubens of the central group in The Battle of S ’ the tandard , a splendid work , but evidently d tinge with Flemish character . It has been sug

’ s L ge ted, indeed, that Rubens never saw eonardo s f V ’ composition , but painted his picture rom asari s f long and graphic description thereo . f L Be ore beginning his cartoon , eonardo gath ered all th e accessible facts about the battle of A nghiari, which are still preserved , in his own

a n d of handwriting, convey the idea a terriﬁc con ' test . Yet Macchiavelli says that there was but d one man kille in this battle , and even he was slain accidentally by the kick of a horse 3 and thus illustrates th e e xce e ding dista ste of Italian s for 6 4 LE ONA RD O D A VIN CI .

of a uff L n scenes ctual peril and s ering. In eo

’ a rdo s account we see the Milanese chief a dva n c in Sa n S f of e g by epolcro , with orty companies cav a l r n f th y and two thousand i antry, and storming e

P of A bridge , while the venerable atriarch quileia,

lore n tin e s directing the F , sees and converses with

of St. P a vision eter in the clouds , and then places his artillery so that it decimates th e e n e

A of h m . s t e c om y a matter course , side which ma n de d of P of A the services the rince the postles , the heaviest cannon , an archiepiscopal artillerist, and the painter, was bound to win the day . Neither of the artists painted their pictures in A the Great Hall . ngelo never began his 3 and

L e n c a us eonardo , attempting to paint the wall in tic (having covered it with wax and a solvent, with um — g to harden the mixture) , was so discouraged at

t e seeing the colors sink into h prepared cement, and the entire wall -covering melt and run down when he built ﬁres on the ﬂoor to dry it, that he

af for h abandoned the work , ter painting ﬁve mont s, and that which he had don h faded away before

a many years had passed . He had alre dy received m f i oney on this commission , and the Gon alon ere justly re proached him for givin g . up a ta sk for

6 6 LE ON A RD DA O VIN CI .

‘ E f mocked, and cried out, xplain it yoursel . who w designed a horse to be cast in bronze , hich you

’ f A n d could not cast, and shame ully gave up . so

wa y saying, he turned his back and went on his , a L e dding, whilst eonardo reddened at thes words

‘ intended to wound him : A n d you were believed

’ n i by these Milanese blockheads .

L ﬁft - eonardo was then y seven years old, and

A ngelo was twenty- seven and we may well believe that the courtly dignity of the elder master was often sorely tried by the irascibility and bitterness of of his young rival . In the contest the cartoons

‘ th both artists won high praise , and it would be di cult to say which was the victor . A t L this time eonardo worked out a new scheme , “ a n d made drawings by means of which he often — sought to prove to the different citizens many — of them men of great discernment who then

Ch of Sa n governed Florence , that the urch Gio vanni (the Baptistery) in that city could be raised , and steps placed beneath it, without injury to the ediﬁce ; he supported his assertions with reasons so persuasive , that while he spoke the undertaking

f r of seemed easible , although eve y one his hearers ,

e n h e s e e for f wh had departed, could himsel that

T A 6 S A TU R Y. 7

A such a thing was impossible . merican engi

n e e r s of the present day would ﬁnd but little difﬁ

r culty in raising the venerable Baptiste y, or even

a n d r e in moving it, intact, to Fiesole 3 it is to be gre tte d that Da Vinci was not allowed to make the

attempt which he so earnestly desired .

’ Leonardo s skill in statuary is also attested b v three bronze ﬁgures over the portal of the Baptis

te r . y, at Florence They were cast by Rustici , under ’ V the master s supervision , and asari praises them as “ without doubt the most beautiful castings that

for have been seen in these later days , whether ” design or ﬁnish . The models were made while the master was ﬁnishing his car toon .

of 1 0 Se r P V In the summer 5 4, iero da inci died,

of - b e at the venerable age seventy seven , leaving hind him ten sons and two daughters . His most illustrious son now had serious difﬁculties with

wh o the other children , insisted on his illegitimacy, and refused to allow him any part in the paternal L w estate . But eonardo would not yield ithout a struggle , and brought the controversy into the courts , where it long remained.

of 1 0 L a t In the springtime 5 5 , eonardo was

Ba rb i a g , near Fiesole , where he observed and de

e of d of scrib d the ﬂight bir s prey . 68 LE ONA RD O DA VIN CI.

P T E V C H A R .

’ n - i — i Se co d Soj ourn a t Mila n . Pa tr on a ge of th e Kin g of Fra n c e H gh

s ri il t ti n s — r u of i tur s Pr o p e ty . Fa m y Li iga o . A G o p P c e .

’ IN th e m m L fe r eanti e , eonardo s plans diverting th e A o f P fa rn rom its course, near isa, had iled

t a n n orm s u terly, although Florence had spent e ou

of wa s l sum money to carry them out . He deep y

mur mortiﬁed at this costly blunder, and at the murs which doubtless arose against his lack of 5 a

’ a cit Y me n n g y . ounger were now contesti g his w laurels, while a generation had arisen which kne him of the of not, and the superior radiance stars A ngelo and Raphael was dimming the light of h is

r e f to glo y . Ther were no longer any amily ties

h im in a detain Tuscany, and he began to look abro d for f m n a new home, remote rom the disappoint e ts

of of L e and the ﬁerce rivalries the City the ili s .

For this reason he readily accepted an in vita v

o n ti n to revisit Milan , which was sent by the Fre ch

Go e of D e n v rnor the uchy, the prud nt and e light

0 LE ON A RD O D A I 7 V N CI .

But f the Gon aloniere answered, dryly and justly Your Lordship must excuse us from granting the

e for L V d lay which you have asked eonardo da inci, who has not comported himself as he ought towards

h e a this Republic, since has ccepted a large sum of money and gives in return but a feeble b e gin ning to th e great work which he engaged to do .

Do f not solicit us urther, because his task should b e f of a n d ﬁnished to the satis action our people, w e . cannot wait longer, without injury L L ater in the summer, eonardo returned to

n to of Flore ce , claim a part in the estates his f f ather and his uncle , rom which the other mem

wa s bers of the family tried to exclude him . He preceded by the followmg letter

f c on To our very dear and great riends , allies , and f f S ederates , the perpetual Gon aloniere and eig

n ior of z— LOUIs b of y Florence , ythe grace God

of e D of L of : King Franc , uke Milan , ord Genoa

VE RY DE A R A ND GRE A T FRIE NDS : We have been notiﬁed that our dear and well

e L V belov d eonardo da inci, our painter and engi

e neer, has som dispute and process pending at Flore n ce a gainst his brothe rs on a ccount of cer F TH KIN OF A 1 PA TR ONA GE O E G FR N CE . 7 tain inheritances 3 and since he cannot give him self up to this business because of the continua l occupation which he has near and about our p e r son 3 also because we earnestly desire that an end may be put to the said process as quickly as justice will a llow 3 for these reasons we have written to

ou A n d e y . we pray you to close the said proc ss a n d suit as soon as justice can be don e 3 and you ”

r LOUIS. will please us g eatly by so doing .

L o eonardo also bore a letter, c nceived in a sim ila r f C strain, rom the Marshal de haumont to the

f Sode r in i Gon aloniere , and the latter ordered the

’ f ll i Da judge to decide the case be ore A Sa nts y.

’ Upon this the artist wrote to the Cardinal d E s te

A of whom he had known when rchbishop Milan ,

Ca r stating the case at issue , and requesting the dinal to use his well- known inﬂuence with the Lord

Th e r on mo h a d Raphael y , who been assigned to “ L try the process, recommending to him eonardo

Vin cio of L , the most devoted servant your ordship , f as I still call mysel and always shall remain , beg ging and charging him not only to do me justice , but to give me a speedy decision . It is not known

of a n y which the contestants won the suit, but at 2 7 LE ONA RD O D A VIN CI .

it u n e for rate was q ickly settled or postpo d, the f master wa s back at Milan by winter. The requent visits whic h he afterwards made to Florence on i u th s b siness , warrant us in believing that the Tus c a n lawyers retained the case in court for se veral v e D s a u . y ars, devouring the a inci e t te at their leis re

A t im t e a of b e e o one t e during his y r trou l s, L n a h a d on l i o f a n d he e rdo , y th rty cr wns le t, gav

’ thirteen of th ese to Salai to make up the marriage f portion o his sister .

I 0 n d 1 1 1 L th e Between 5 7 a 5 , eonardo was at

of e summit honor and gr atness, when surrounded

b e and revered by his old pupils , generously f M C riended by arshal de haumont, and highly f e L . a e st emed by his man y riends . ouis XII p

P n pointed him ainter to the Ki g, but it is not kn own precisely wha t pictures he executed during

e V s th se years, especially since a ari is silent about

of f I 0 1 that part his li e between 5 4 and 1 5 5 . His

n l k th e labors were mostly in buildi g hydrau ic wor s , chief of which were the improvements in the gre at

Ma rte s a n C for anal , which he had planned the

Sf for orzas , and now executed their conqueror . There were numerous grave difﬁculties conne cted

i t a re f e n w th his task , and lengthy notes ound ther o in S his M S.

E ONA RD A V 74 L O D IN CI . de r s ta n din of V g this work, and asari says that he f requently utilized it .

1 0 In March, 5 9, he made a visit to Florence , probably to take care of new litigations with his t brothers . It is supposed that he re urned to Mi lan by June , and superintended the splendid cele b r a ion s t L t which took place here when ouis XII .

f V i a t returned rom his victory over the enet ans ,

A « gnadello . In common with the Milanese citi

of L Our zens , he now always spoke ouis as most

’ Christian King . Frequent journeys now took

‘ place between Florence and Milan , while he con

Da V tin ue d . his contest with the incis In March ,

1 1 0 h f C 5 , he designed a w ar on the Great anal , at Milan 3 and a fe w months later he wrote from f f o o . Florence , telling the progress the lawsuit However this contest in the courts may have L f terminated, eonardo was a terwards reconciled with his brothers , and bequeathed to them his property at Florence . The wise Marshal de Chaumont died in 1 5 1 1 3 and, during the next year, the French army made f f a fear ul sack o Brescia . This terrible event aroused all Lombardy against the foreign o c cu~

f of pants 3 and a ter the battle Ravenna, when the E SID E N E A I A R C T M L IV. 75

u u ff v French , tho gh victorio s , su ered such hea y Sw losses, a iss army occupied Milan , in the name

’ f L M a x imi l of S . Maximilian orza, odovico s son f t ian himsel soon entered the ci y, under the tri umph a l arches which had been erected for his antagonist 3 and the war between the French and

N - u L d orth Italians spread thro ghout all ombar y,

’ r L car ying with it unnumbered woes . eonardo s

a l hopes were shattered by this great change , though he wa s immediately employed by the new D d uke , Maximilian , who had his portrait painte twice .

’ During these seven years of Leonardo s second

l n of residence at Milan , he was the maturity his power5 3 and it was evident that not all his time was occupied in engineering . To this period ,

f of there ore , the critics assign several his undated

On e of of pictures . these was the portrait Mar

LO IS shal Trivulzio , a Milanese general , whom U

of of L d XII . made governor a part ombar y, and who commanded under Francis at the battle of

S t ~ Marignano . ome critics suppose hat this por

D — e trait is now in the resden Gallery, the sam L f O which is also called odovico S orza . thers t in a n d hink that Holbein pa ted this ﬁne picture , 6 E ONA R O DA VIN 7 L D CI .

a it n M or e tt l o f e th t represe ts , the j ewel er H nry

‘ ’ V f E L a n . o M III , ngland . o aca, now in the

P P of itti alace , is a picture a young nun, with a f of a n d th e s a m ace alluring beauty , is probably e

’ which Le onardo s brother- in -law gave to Car dinal

S l a I 6 a vi ti, in 53 .

‘ ’ ‘ ’ La C of olombine, or Flora, is the picture

if e n ow a t he a beaut ul woman , in blue dra p ry, t

‘ ’ th e o Hague, where H llande rs call it Frivolity, ‘ V ’ or anity . It is believed by many critics that it was a portrait of the ce lebrated Diana o f

Poic tie r s re , while others see in it a mysterious p r s e ta tion of of e n some dreamy conceit the artist . Severa l copies and perhaps replicas of this ﬁgur e A are still in existence . nother picture which

‘ ’ a n h Le a Rumohr ssig s to t is period is the d ,

of f where the bride Jupiter, per ectly nude , is

n - Ca s see , with two children , and the new born

P n fa r - e d tor and ollux , ear a winding and re y m t in the argined river, wi h a mountain range

of fe w u distance . This was one the very n de ﬁgures which Leonardo painted (a lthough so fa

n of miliar with a atomy) , and also one his ﬁve L classical compositions . eda was on ce provided

r m a n d with ga ents by some prudish barbarians ,

8 N D D A VI 7 LEO AR O N CI .

n ow in Ufﬁ z i f y the Gallery, rom which so man

n O e gravings have been made . ther portraits of f the master, drawn by himsel , in red or black f W C V chalk , are ound at indsor astle , the enetian

A E s cademy, at Milan , and in the sterhazy Gal P lery, at est . Caterina di Sa n Celso was now the reigning

f for beauty at Milan , amous her songs , her danc

f n f h s ing, and her asci ating ace , w ich had con f quered even King Louis himsel . Rio says that

’ this fair enchantress was Leonardo s model whe n ‘ f ’ St. C o A he painted the atherine lexandria, P St. p erhaps the sublime picture at etersburg, L which Stendhal attributes to eonardo . There St C t are many other . a herines which their pos

s e s s or s f re er to the same hand , to the great wrath

f - o the art critics . A L bout this time , eonardo was commissioned

C A lb iz z i by the noble Florentine , amillo degli , to

f . paint a picture o St. John the Baptist This f S amous work was subsequently taken to pain, and was seen by Mengs in the possession of the

of A Princess the sturias . A nother picture of the same subject a fterwards

n s of L . a passed into the ha d ouis XIII , who g ve ‘ R ’ LA VIE R GE A UX R OCH E S . 79

of E l for it to Charles I . ng and, in exchange

’ ’ ’ Holbein s E rasmus a n d Titian s Holy Family .

C h is a n d romwell owned it, in turn 3 ﬁnally the

t L ama eur Jabach sold it to the ouvre , where it

still remains , looking more like an antique Bac

chus than the great Forerunner . Two Madonnas were also painted for the King

of France 3 and L eonardo wrote from Florence that he hoped to ﬁnish them by the E aster of

1 1 1 5 . These have disappeared 3 and Rio thinks that they were taken to E ngland when Henrietta

C I . th e Maria married harles , and perished in

c on ﬂa gr a tion at Whitehall Palace Three of Le

’ on a r do s pictures were destroyed at that time ,

and probably these were among them .

‘ ’ ' The Virgin among the Rocks (L a Vze rge a ux

Rocke r s) is one of the most exquisite of the Ital

ian Madonnas . There are three representations

of of Lo this scene , which that in the uvre is best

’ th e D of Suff known , and the one in uke olk s

o t t c llection has the highes claims to originali y . Waagen a n d Passavant stigmatize the Louvre pic

’ t a n d f S ff h ure as a copy, pre er u olk s canvas , whic

1 6 for was bought, in 79 , by Gavin Hamilton , e i thirty sequins . Th ophile Gautier has descr be d N D DA VIN I LEO AR O C .

“ this comp osition as follows : The aspect of th e

V A of irgin is mysterious and charming . grotto

a bas ltic rocks shelters the divine group , who are

of sitting on the margin a clear spring, in the transparent depths of which we see the pebbles of of its bed . Through the arcade the grotto , we

fe w discover a rocky landscape , with a scattered

of trees, and crossed by a stream , on the banks which rises a village . Her head is spherical in form 3 the forehead well developed 3 the ﬁne

of f oval her cheeks is grace ully rounded , so as to inclose a chin most delicately curved 3 the eyes with lowered lids inclosed with shadow 3 and the

f of nose , not on a line with the orehead , like that ” a Greek statue , but still ﬁnely cut . For the Church of S a n Celso the master painted his celebrated composition of The Virgin Seated

’ n f f o K o St. A the nees nna , which was a terwards

L . replaced by a copy, and is now in the ouvre The mira cles attributed to the image of the Vir gin at Sa n Celso (which continued until 1 8 45) a t tracted such a va st wealth of offerings to that church that its clergy commissioned Bramante ,

L of Raphael , and eonardo to execute works f L ’ a dornment there or . eonardo s picture was so

8 2 E N D DA VI L O AR O N CI .

P E V I C H A T R .

’ Th e E x o us f L n h l n a r do a t m d o e o a r do s Sc oo . L e o Ro e . Le o X.

h ld M a s te r v r h i tur s a i t d a me . ma P c e P n e t Ro T e O O e tc e d.

TH E wars and confusions which were sweeping through Lombardy rendered that country an un

for L congenial home the tranquil eonardo , who u ﬁnally made ready to seek a more peacef l abode .

S f of In eptember, there ore , the patriarch Milanese

C a t art set out on a long j ourney to entral Italy, d tended by his devoted and ﬁlial isciples , Melzi,

’ S i Be ltr a ﬁio L ala , Giovanni , orenzo (a Florentine

u a n foia A f for p pil) , and F . ter remaining a short

r e ime time in Florence , under the new Medici g , the little band of artists j oined the train of the

’ u n d D a . ke Giuliano de Medici , went to Rome

A a n d Michael ngelo was in Florence at that time , , V “ tw as asari says , there was great disdain be een ” Michael A ngelo Buon a roti and Leonardo The f great architect either ollowed his rival to Rome ,

o th e e a l or else pl tted against him there , reviving j 8 LE O X . 3

of . onsy the previous years Raphael , on the other hand, treated him with honor and courtesy. L d P Le o . ope X received eonar o very cordially , “ for of and bade him work the glory God , Italy , X L V ” Le o . , and eonardo da inci 3 but gave him no

of A commission importance , since the strong nti Gallican feeling then prevailing at Rome naturally antagonized an artist who had been s o long con d P n e cte . with the French The ope , indeed, valued

V d e him chieﬂy as an alchemist, and asari thus scribes some of his achievements in this dirc e “ : L of tion eonardo , having composed a kind paste f of rom wax , made this , while it was still in its

f- of hal liquid state , certain ﬁgures animals , entirely hollow, and exceedingly slight in texture , which W he then ﬁlled with air . hen he blew into these

ﬁgures , he would make them ﬂy into the air, but when the air within them had escaped they fell to

On e - of the ground . day the vine dresser the Bel

f u for vedere ound a very curio s lizard, and this

t L n f crea ure eo ardo constructed wings , made rom the skins of other lizards ﬂayed for the purpose 3

n into these wi gs he put quicksilver, so that when the animal walked, the wings moved also , with a

m u e o a n d tre ulo s motion 3 he then made yes, h rns, 8 4 LE ONA RD O D A VIN CI . a for th e a ue h e e d e t beard cre t r , which tam and k p in a case 3 h e would then show it to the friends

e t h im a n d who cam to visi , all who saw it ran away

H e e e terriﬁed . mor than onc , likewise , caused the intestine s of a sheep to be cleaned and scraped until they were brought into such a state of tenuity that they could b e held within th e hollow of th e

i hand . Having then placed in a neighbor ng cham

of m to ber a pair blacks iths bellows , which he had m f on e e n d of ade ast the intestines , he would blow into them until he caused them to ﬁll th e

e whol room , which was a very large one , insomuch that whoever might be therein was compelled to ta ke refuge in a corner 3 he thus showed them

n f of e transpare t and ull wind, remarking that wher as they had previously been contained within a

a ll small compass, they were now ﬁlling space , and

h e of this , would say, was a ﬁt emblem talent or

of f genius . He made numbers these ollies in v i lf arious k nds , occupied himse much with mirrors a n d optical instruments , and made the most singu

for n lar experiments in seeking oils painti g, and ” va rnishes to preserve th e work when executed . The description of the metamorphosed lizard

’ of L a o fa o e mue m n illustrates one eon rd s v rit a s e ts,

8 6 LE ON A RD O DA VIN CI .

n ground . The latter is supposed to have bee a portrait of the beautiful Princess Philib e rta of

’ Vi r S of . a dot avoy, the bride Giuliano de Medici and other critics refuse to consider this work ’ P as Leonardo s 3 but Passavant afﬁrms it . agavi th ought it so beautiful that he held that it was

’ marked with Da Vin ci s monogram to prevent it fr om being attributed to Raphael 3 and Stendhal says that “ Leonardo never painted anything bet ” W lun ter or more sublime . hen the Germans p

f th e dered Mantua, this picture vanished rom

f f th e ducal palace , and long a terwards ell into

of A Sa lva dori of p ossession the bbé , a secretary

irmia n of Th C F t . e the ount , Governor Man ua

A é irmia n bb hid the picture , lest F should compel him to restore it to the palace 3 and af ter his

f e death it was secretly orwarded to Mori, a villag

’ of th e of Sa lva dori s district Trent, where heirs, f E C long a terwards , sold it to the mpress atherine of Russia .

‘ The Madonna of the Bas—relief is in th e pos session of Lord Monson 3 and Passavant calls it

“ ‘ of th e b e s t of L one preserved works eonardo , ” a n a n d t admirable original pic ure , though certain o e i f is th r crit cs con sider it a s a skil ul copy. It LE ONA RD O I TI I S S A GE 8 CR C E N L O. 7 similar in composition to the Holy Family at the

St. Hermitage , save that Zacharias is substituted for St C f . atherine , and derives its name rom a bit of — f f bas relie in the lower le t corner . Cardinal

Fesch also owned a picture similar to this 3 and

D of the uke Melzi has another, in his palace at

w to C S Milan , hich is attributed esare da esto . The in fant picture of Turini is supposed by Lanzi to be the same which is n ow in the muni ci a l p palace at Bologna, a Child Jesus , lying in a rich cradle ornamented with pearls, His head S surrounded by a luminous circle . tendhal also L believes that this work was by eonardo . A fter the master had closely studied A ngelo ’ s

‘ ’ ' f f of L d h e turn e d amous resco The ast Ju gment, “ a A side and said, Michael ngelo is a great man ; ” fe w for a ﬁ ur e s — a but he has models so m ny g , criticism which has often been repeated by mod e rn connoisseurs .

V L e o asari says that when X . commissioned L eonardo to paint a certain picture , he began to distil oils and prepare herbs for the varnis h e f P b ore commencing the design , at which the ope “ A ! do exclaimed, las this man will assuredly

o a ll e h e i of th e e n n thing at , sinc is think ng d 8 8 LE ONA RD DA VIN O CI .

" f m of be ore he has ade a beginning his work .

This remark was quickly borne to the painter, to whom it caused the greatest displeasure .

for It was impossible the veteran artist, who had N so long been the ﬁrst master in orthern Italy, f to content himsel as the third at Rome , where Raphael and A ngelo received all the most honor

a able commissions, and he was treated rather as skilful juggler than as a painter of transcendent W power. hen he was drawn into the competition for of f of Sa n L the plans the acade orenzo , at

A as t Florence , and ngelo overm ered him , the ven e r a b l e L s k eonardo determined .t e e a land where

h l ia his talents could be more hig y apprec ted, and to leave the rich Roman ﬁeld to A ngelo and

o . Raphael , and the y unger artists He had always

fa r w been , in so as relates to art, a prophet ithout honor in his own Florence ; and at his advanced age he could hardly have ventured to rival the two f P if great artists then in avor at Rome . robably, E C t he had tried some worthy work in the ternal i y, he would have proved his equality with the two

of of princes art, and become a worthy member

o th e an illustrious triumvirate , enriching R me with

o of W e e r th e r ocr a s ‘ ch icest mas terpieces . h th p

0 9 LE ONA RD O DA VIN CI.

A P E V I I C H T R .

— — h e Ca ll of Fra n ce a via n F e stivitie s . a w T . P F re e ll to Italy. Loo n a r do in r a n c — h me n F e . His De a th . T e L a st Te sta t.

L E ONA RDO had not long to wait before ﬁnding W the noblest and most congenial patron . hen e L Francis I . succe ded ouis XII . on the throne of France , he straightway led an army into Italy, defeated the Lombards in the tremendous battle of

r e - P Marignano , and occupied Milan . The ope hastened to make peace with the brilliant young P r P sovereign , and yielded also a ma and iacenza

f V 1 1 t o O . to him , by the trea y iterbo , in ctober, 5 5 No sooner had Leonardo heard of these successes of L the French than he hastened to ombardy, and was received with great j oy by Francis who

f of P restored to him the o ﬁce ainter to the King, and settled upon him an annual pension of seven hundred golden crowns .

The master owned an estate at Fiesole, near

of Florence , which was perhaps a part the patri mony for which h e had fought so long in the VINE YA RD LE SS ON I S . 9

Se r P V courts , since iero da inci had owned prop — e r t . of r 1 r 6 h e y at that place In the winter 5 5 , f wrote to his steward there the ollowing letter, containing several ideas fa r in advance of the times “ The four last bottles were not up to my e x pe c

ta tion for o f , which I am very sorry ; the vines t Fiesole , being much improved in quali y, ought to

f ﬁrs t- for for urnish rate wine our Italy, as well as

Se r O ttaviano . You know, however, that I told you it would be necessary to manure the stony ground with lime mortar from destroyed houses or

walls, and this dries the root 3 and the stem and leaves draw in from the air the matters necessary

f of v to the per ection the grape . Besides , we ha e now a very bad habit of making wine in uncovered

vessels, and so the essence escapes into the air f during ermentation , and nothing remains but a

tasteless liquor colored by the dregs and the pulp 3

f o f moreover, they do not shi t it as they ught rom

of vessel to vessel , in consequence which the wine

H ow becomes turbid and difﬁ cult of digestion .

if n s ever, you and others will proﬁt by these reaso

al th e e d ings, we sh l drink good wine . May Bless 'V ” irgin s a ve you . 2 LE ONA RD O D A I 9 V N CI .

A t Pavia marvellous festivities and enterta in ments greeted the advent of the knightly young L King, and it is supposed that at this time eonardo devised the wonderful automaton of which Lomazzo

— a speaks , lion ﬁlled with hidden machinery by

of means which it walked up to the throne , and

O pening its breast, showed it ﬁlled with a great n of ﬂe ur s— - m umber de lys , in co pliment to the

’ French sovereign . It was thus that the artist s philosophical studies enabled him to cater to the f of oibles his times , and to mould his experiments

f r A t h to create diversions o the courtiers . about t e

P f L a c« same time as the avian estivities , eonardo companied the King to Bologna, where Francis held a conference with Le o X . 3 and here he who had been treated at Rome with scant honor, now

a s f of t appeared the avorite a migh y prince .

W own hen Francis I . was about to return to his f country, a ter the brilliant Italian campaign , he L S ’ desired to carry with him The ast upper, and f ﬁnding this impossible , consoled himsel by taking N its artist instead . eglected at Florence , chilled d at Rome, and uneasy un er the stern military gov e r n me n t L f at Milan , eonardo le t Italy without

e f a n d o a n . If gri , s ught a new and goodlier l d

LE ONA RD 94 O D A VIN CI .

1 1 h e f 5 7, directed the estivities when Lorenzo

’ D of e de Medici, the uke Urbino, marri d a prin

of of cess the House Bourbon .

Af ter breakfast the venerable master use d to S i ’ A take ala s arm , and walk to mboise, looking

i w - D l ke a hite haired ruid, and meeting with tokens of f respect on all sides . His li e here was peace ful and serene , and made a ﬁtting close to so active and laborious a career . Leonardo was placed at the head of all a rtistic f undertakings in France , and was urnished with a t pension , and horses to at end the royal court,

in P on ta e b le a u. whether at Blois, aris , or F French art, at this time , had not progressed beyond the

i of illuminat on manuscript, wherein , indeed , it had

for t . two s excelled two cen uries But the la t kings .

L a ouis XII . and Fr ncis who had carried their

fa r arms into Italy, were charmed by the grandeur of of r the art that count y, and earnestly desired to A s transplant it across the lps . Franci probably thought that Leonardo would found an academy

e in France , as he had done in Milan , and educat

f n e w - a group o artists in a Franco Italian manner. But the master made no attempt to establish

Vin c ia n a n o e h another ac demy, and had Fr nc H IS LA S T YE A RS . 95

f d for t pupils or ollowers . It was reserve three o her

‘ ’ Il P Nic c olc) d Italians, Rasso, rimaticcio , and ell

A t f for bba e , to ound a school France , at Fontaine bleau 3 b ut theirs was the art of the decadence and

a n d its e x a the mannerists , extravagances and g ge r a tion s corrupted the French school in its cradle . Leonardo seemed to have been blighted the mo

A s a n d ment he passed the lp , to have lost all his f a n d P a n d w ormer activity ambition . etted re arded

d t o f by the King, surroun ed by the mos l ving riends, and reverently looked up to by the fa r in f erior

of n of artists Fra ce , he had attained the summit f ambition , and no longer elt the keen incentive to

f h is labor, which ormerly overcame natural dila toriness . He was enervated and rendered languid f u o d by the atal lux ries which surr un ed him , and ceased to be a creator of noble works of art or P ff science . erhaps his age had some e ect in this

' for b ut fe w wh o f direction , there are men can ollow A ngelo and Titian in carrying on mighty enter

if No prises to the very close of a long l e . more great works issued from Leonardo ’ s once busy

f d a n d fe w brain and skil ul han , he made only a f of of eeble plans , such as that the canal Romer

e l 1 1 8 . ntin , whither he went ear y in 5 He also 6 L E A 9 ON RD O D A VIN CI .

P visited Blois , and made a short sojourn in aris .

’ The A bbe Fontani claims that he went to Rouen

, also, but abbés claim a great many things .

A t L f u b e length eonardo ell into a lang or, and D gan to decline , slowly, yet all too surely . uring the many months in which he was thus sinking V “ away, asari says that he wrought diligently to f C make himsel acquainted with the atholic ritual , and with the good and holy path of the Christian

i i c on fe s s e d wi h relig on . He then t great penitence and many tears 3 and, although he could not sup f f port himsel on his eet, yet being sustained in

of fr l e n ds the arms his servants and , he devoutly received the Holy Sacrament while thus out of ” bed . It has been inferred from certain expressions

V of used by asari when writing his last days , that Leonardo ’ s scientiﬁc and philosophical studies and speculations had made him a rationalist, or had at least given him an indifference towards

ﬁ of religion . In a passage in the rst edition

' “ V f d s it is s a id asari (a terwar s suppres ed), that, by this means he conceived such heretical ideas that

s he did not belong to any religion , e teeming it ” better to be a philosopher than a Christia n .

8 LE ONA RD O D A VI 9 N CI . seem to refer to some persecutions which Le o uff f C nardo s ered rom the hurch , which , he said , “ reprimanded him for working at his art on fe ast ” of God E days , and investigating the works . lse “ where he wrote this statement : When I made

‘ L f the ord God an in ant, you imprisoned me 3

if H im -u now, I make grown p , you would treat ” me worse . There are no indications that Leonardo fell

f f of d away rom a li e purity and ignity, even in

of that age libertinism , and under the inﬂuence t of his own vivaci y and enthusiasm . The ques tion as to whether or no he was theoretically w religious may not now be ans ered, and theories based on assumed probabilities are unsafe 3 yet he certainly led a higher life than most of the pontiffs and cardinals of his generation 3 and even when he painted undraped ﬁgures , he gave them modest attitudes and downcast eyes .

of L d The will eonardo , ma e only nine days

f h d f of be ore his deat , is a ocument ull interest, as showin g a fervent desire that his funeral cere monies should be attended with the high pomp of

h e d for t Roman ritual , and also his kin ly care th e friends and servants left behind HIS L A S T TE S TA M E N T. 99 The said testator desires to be buried in the

C of St. A hurch Florentin at mboise , and that his body h e carried there by the chaplains of that d f place . That his body be accompanie rom the

of said place to the said Church St. Florentin by

of the chapter said church , and also by the rector

of and prior, or by the vicars and chaplains the

’ D d A mb oi e C of St. s s hurch eni , as well as by the

of A n d f e Minorite Friars the said place . that be or his body be carried to the said church , the testa tor desires that there should be three high masses f C o St. celebrated in the said hurch Florentin,

- with deacons and sub deacons 3 and that, on the m sa e day, there shall also be said thirty low masses

f . o St. D C of St. Gregory In the said hurch enis,

th e a like service shall be celebrated , and also in

of church the said Minorite Friars . “ The aforesaid testator gives and concedes to

of Messire Francesco da Melzi , gentleman , Milan, in gratitude for the services that he has rendered

r o f him in times past, all and eve y one the books

n ow which the said testator possesses , and other in struments and drawings concerning his art and

f of the pro ession painter. “ Th e testator gives and concedes forever and I o o N D O DA V V I LE O A R L C .

Vill a n is n perpetually to Battista da , his serva t, the half of a garden that he has outside of th e walls of Milan 3 and the other half of his garden

' S i th e s a id to ala , his servant, in which garden ‘ Sala‘i has built and constructed a house which shall be and shall remain forever the property of

S i of the said ala , and his heirs and successors 3 and this in recompense of the good and kind ser

’ vice that the aforesaid Salai and Vill a n is have rendered him hitherto . The said testator gives

- M a tur in a of to his maid servant, , a garment good

fur of black cloth trimmed with , a hood cloth a n d ten ducats paid at one time 3 and this also in recompense of the good services of the said Ma turina up to this day . “ He wishes that at his obsequies there shall be i s xty torches borne by sixty poor men , who shall be paid for carrying them according to the dis cr e

of b e tion the said Melzi , which torches shall divided among the four churches above men f tion e d . The said testator gives to each one o th e said churches ten pounds of wax in large candles , which shall be sent to the said churches to be made use of on the day in which the ser vices above named sha ll be celebrated . Item

1 0 2 LE ON A RD O DA VIIVCI . h a d ff i o ended God and man , not having worked n a rt as he ought to have done . He was then seized

f of with violent paroxysm , the orerunner death , w hen the King, rising and supporting his head to give him such a ssistance and do him such favor a s h e of L could, the spirit eonardo, which was most divine , conscious that it could attain to no

o of greater hon r, breathed its last in the arms the K ” ing . Many subsequent writers have discredited Va

’ s a ri s story that Leonardo died in the arms of the d K a n . ing, have tried to prove that Francis I was

V r n ot at A mboise at the time . But asa i received

f i f th e his in ormat on rom Melzi, who was with mas i fﬁ ter unt l the last, and it is di cult to see how he

h A e H ou could have erred in t is matter. rs ne s saye has discussed the question at great length, f reviewing all the objections , and pro essing his faith in the substantial truth of the old chroui

’ for cler s account , although many years he had

A e Ch a m been among the doubters . M . im p ol

L n L lion , M . éo de aborde , and other modern

French critics support the same view 3 and so do

Félib ie n De P De C a n , iles , hambray, and other cie nt write rs . TH E L OS T TO 1 M B . o3 Duf resne and several other writers have favored

on ta in e b le a u a hypothesis that the master died at F , but that was only a small hunting- lodge at the i d V . t me , rarely isite by the King Ten or twelve years later a colony of artists and architects went

a n d of there, began the erection the splendid pal a ce f A which still adorns those vast orests . mong L these was a Flemish painter named eonardi, whose name probably gave rise to this erroneous

it theory . Furthermore , could not have been pos sible for Leonardo to have gone to Fontainebleau in the nine days which elapsed between making A de his will , at mboise , and his ath . The body Of the great master was buried in f St C o . the hurch Florentin , but it is not known that a monument was erected over it . The wars f which soon a terwards devastated France , in the

of A name religion , did not spare the mboise

of f St shrines 3 and no tomb note was le t in .

. 1 8 0 8 Florentin In , the church was utterly de molish e d S D by the sacrilegious enator ucos , when

- even the grave stones were sold, and the leaden c oﬂi n s m t were elted down . In the las century, P A agavi made a pilgrimage to mboise , in search

’ of L n l of eo ardo s tomb , but cou d ﬁnd no trace 1 0 4 LE ONA RD O D A VIN CI .

’ 1 8 6 A e t t it ; and, in 3 , rs ne Houssaye went hi her,

f dis c ov attended by several high o ﬁcials , bent on

of e n ering the grave . The site the church was oc

a pied by grove , wherein an ancient gardener

of had buried the bones the unearthed skeletons , with which the children of A mboise had been

’ - H ous a e playing nine pins . s y s workmen dug in

on three places the site , ﬁnding several tombs ,

of r of bits statua y and tablets , parts the pavement of the church , and vaults reached by subterra A t nean stone stairways . last, in the choir, L where tradition said that eonardo was buried, t fo e hey und a skel ton , with the skull resting on th e if f m of hand, as musing, and with rag ents

a of white h ir, sandals , and brown cloth, coins mediae val Italy and of Francis and a vase f N ﬁlled with per umed charcoal . ear by were f m of of rag ents slabs, two which were marked,

LE O IN E D S VIN C O U C.

The skeleton measured ﬁve feet and eight

of L d inches , the recorded height eonar o , and the

of s e tua skull , pronounced by doctors as that a p

e n a ria n t g , corresponded in shape wi h the portrait

- of th e a . f rtist It was well balanced and power ul ,

1 0 6 N A RD D A V LE O O IN CI .

’ ’ M e lz i s t th e In let er, apprising master s brothers “ of : his decease , he says He was to me the best of f b for athers , and it is impossi le me to express f the grie that his death has caused me . Until the day when my body is laid under the ground , I shall experience perpetual sorrow, and not without

for e reason , he daily showed me the most devot d ff f and warmest a ection . His loss is a grie to

for of every one, it is not in the power nature to A reproduce another such a man . May the lmighty ” accord him everlasting rest . Leonardo ’ s little household was speedily broken

for up . Melzi remained in France some time , as

of Vill a n is a pensioner the King, and also staid,

’ M e lz i 1 s . S t in service ala re urned to Italy, and won great success by painting from the unﬁ n ished

’ designs , having acquired the master s style so nearly that the best critics are unable to say whether certain pictures are by him or Leonardo .

’ The marvellous scene at Leonardo s death - bed

V n r has been portrayed by ie , Fleu y, Gigoux, and

A n ff C th e Lo gelica Kau man 3 while ornelius , in g f gie rescos at Munich , illustrated his birth , his

of manner painting portraits, and his death in the

r f a ms o Francis . H IS FA ME 1 0 . 7

S r of L t ozzi, the Florentine poet, said our eon ar do :

H e a l on e

Va n uis h e d a ll oth e r s Ph idia s h e s ur a s e q 3 p s d,

Sur a s s e d A e le s a n d th e con ue rin tr oo p p l , q g p ” 0f the ir p r oud foll owe rs . I 08 LE ONA RD O DA VIN CI.

A P E V C H T R I I I .

h ite r Le on a r do a s a Ph iloso p e r a n d a Wr .

HUMBOLDT says : He was the greatest physical f If philosopher o the ﬁfteenth century . the n ews of Leonardo da Vinci upon physical sub

e cts M SS j had not remained buried in his . , the ﬁeld of observation offered by the Ne w World would have been explored in many of its branches of f of Pa s science be ore the grand epoch Galileo , cal , and Huygens . He sympathized profoundly with th e revival of ancient learning in Italy, and in an epitaph which

for was prepared him , under his own supervision , “ f of he called himsel , The admirer the ancients

f n e and their grate ul disciple . O thing is lacking f to me : their science o proportion . I have done ” what I could ; may posterity pardon me . He

V s devoted the most earnest study to itruviu , whose book on architecture had recently been translated by Fra Pa c iolo 3 since the great ques tion of the

I 1 0 L NA RD O D A VI E O N CI .

‘ adding that there were many more which had lain

r f h V fo years in the garrets o t e illa Melzi . The fragmentary character of these papers is f L lf orecast and explained by eonardo himse , in th e of M SS note preﬁxed to one the . Begun at

of P t Florence , in the house ie ro di Braccio Mar

2 2 d of 1 0 8 ma b e telli, on the March , 5 3 and this y f ‘ a collection without order, extracted rom many f papers which I have copied, hoping herea ter to

to arrange them in their proper order, according b the subjects of which they treat . I expect that e f ore concluding this task , I shall have to repeat the s f ame thing more than once 3 where ore , reader, do not blame me , seeing that the things are many, and I cannot keep them in my memory and say, ‘ This I will not write because I have already

’ written it . A mong these chaotic papers are the hints of many ideas which subsequent discoverers realized, though the too versatile Italian did not care to

f in a ccu develop them . There are also alse and rate deductions , sometimes corrected by the writer himself in later treatise s 3 and quests after falla cies , necromancy, perpetual motion , and the like .

' ' Th e COdzce A tl a n tzm is a collection of four hun I 1 r A TE A N TI C CODE X .

’ dred of Leonardo s drawings and manuscripts d C L gathere together by the avaliere eoni , and

r n a ui f afterwards owned by Count A co t . Re using

’ f of an offer of go o o doub l oon s or it from James I .

’ ' E C d Goa zra ngland , the ount presente the to the

A L . mbrosian ibrary at Milan , where it still remains When Napoleon conquered Italy he carried this

’ collection and Petrarch s copy of Virgil to his f w palace himsel , allo ing no one to touch them , “ and saying with great delight : These are my ” A f of own . ter the ﬁnal humiliation France, the A tlantic Codex was brought back from Paris to A Milan . nother great volume remains in the

N a L P 2 ation l ibrary at aris , containing 3 9 pages, and bearing the following title in gold letters “ Designs of Machines for the Secret A rts and

Other Things of Leonardo da Vinci 3 Gathered by P f L . A o ompeo eoni nother volume , composed notes on the mathematics and physics , is now in M A SS . . r the rundel , at the British Museum Fou

in P s a n d teen volumes still remain ari , have never

A t e yet been properly examined . Holkham ther

° ' ’ ' f L zl2r O r z zﬂ a l e a z N tur M S . O a a is a the O g .

’ A notherMilanese artist had some of Leonardo s

V a n writings on art, which he showed to asari, 1 1 2 NA RD O DA VI LE O N CI . n oun cin g his intention of publishing them a t

Rome . These were probably the same as the

' Tr a tta to dell a P zﬂ um Du r e sn e , which F published

P 1 6 1 in aris , in 5 , in the Italian language , with P A A illustrations by oussin and lberti . French

n translatio appeared in the same year, and an E f ’ nglish edition ollowed, since which it has been

in of of E published most the languages urope .

‘ “ Schorn said that the Tm zmto is still one of the best guides and counsellors of the painter 3 A lga rotti declared that he should n ot desire any better elementary work on the art of painting ; and it is i ae a of ndeed an encyclop di art, dry, clear, and

f of concise , but with an un ortunate lack coherence

N of between its sections . one the manuscripts from which it has been edited are in the master ’ s f handwriting, whence it is in erred that it was a

of compilation his sayings and notes , prepared by

~ some disciple or frien d . Rubens wrote a com mentary on this treatise 3 and A nnibale Caracci used to say that if during his youth he had read

’ n of L ud the golde book eonardo s precepts , he wo l

e f hav been spared twenty years o useless labor .

‘ ' ’ ’ l e Tr a l fa zO del M 010 (3 M s um O RIZ A cqua “ ( Treatise on th e Motion and Power of

1 1 4 L E ONA RD O DA VIN CI .

Brown says that Leonardo ﬁrst introduced th e art Of engraving on wood and copper 3 and th e

’ Marquis d A dd a points out an engr aving of Monna

e Lisa as certainly by his hand . Brown also b lie ve s that the master engraved the portraits of th e L ’ most eminent literary men at odovico s court, prefaced to their works 3 the frontispiece of Gafo

’ rio s treatise on music 3 a rude print of The Last

’ Supper 3 and other pictur es . d f He indulge reely in astronomical speculations .

“ wondering at the appearance of the new moon with the old moon in her arms 3 falsely referring th e twinkling of the stars to our own eyesight 3 “ and dogrn a tic a lly writing that the moon must have a spring and summer every month , with greater variations of temperature and colder equi noxes than we have .

fos Geology was then an unknown science , and

of sils were regarded as caprices nature , the stars , L f or the devil . But eonardo requently observed these things , especially during his journeys over A A the lps and pennines , and rejected the crude f ideas then prevalent, considering the ossil shells

of - f « and ﬁshes as remnants pre historic li e , imbed ded in mud which had hardened into stone . D F 1 1 A S TU E N T O B O TA N Y. 5

Leonardo was a close and admiring student o f

“ a n d Uz ie lli Ne w botany, demonstrated, in the ” of for 1 8 6 s t Journal Italian Botany 9, that he ﬁr l aid down the fundamental laws regulating the

f of P i! distribution o leaves . The sixth book the

‘ zum contains many notes on leaves and boughs ,

th e A C bark and wood 3 and tlantic odex , among many other minutely accurate records of ob s e r

of of vation , speaks the circles wood denoting the

of t age a tree , while their densi y depends on the

of a n d dryness or wetness their natal seasons , states that the centre of a tree is near e r the south

r e ern bark than the northern . There is also a cipe for coloring leaves and applying them so a s

f - to orm what is now called nature painting.

c h e mistrv d i In he ma e many researches , mprov

f t of ing urnaces and stills , studying the proper ies

ﬂame and smoke , inventing poisonous vapors to f fu be used in war, puri ying oils, distilling per mes , a n d d d for compoun ing colors and varnishes , aci s

for ﬁr e - th e engraving, and mixtures works . In same connection b e investigated the processes of

’ f s metallurgy, and wrote copiously on the ounder art .

’ Leonardo s ob s ervations in hydrostatics w ere 1 1 6 LE ONA RD O DA VIN CI .

f tf in e N . rui ul b neﬁts to orthern Italy, and con n e c te d his in ﬁ nite specula tions with the supply of f m o a n . the wants He studied nature earnestly, a n d embodied the results thereof in a treatise on

. r th e ﬂuids He inquired into capillary att action ,

of h a s properties sip ons, and the phenomena ttend in g the action of heat on water ; and argued that rain-drops grew l a rger as they approached the e n arth . He plan ed numerous canals ; invented a

' new form of l ock-gates 3 economized the services of exca vators 3 and devised the ( olma m system of drainage .

' ’ Leonardo s studies in Optics were very careful

of and minute, and resulted in the discovery new

ff c a me r a ob scur a a e ects with the , and original ide s recorded in many of his M SS. He understood

fﬁ of th e the o ces the crystalline lens, the iris , and pupil ; tried to measure the intensity of light ; ex pe rime n te d with concave and convex mirrors ; and foreshadowed the telescope and the theory of dif

f of . e raction light In perspective , he also mad n n f umerous investigatio s , and ormulated several “ L Vin correct rules , which he signed , eonardo f 2) o P . cio , the disciple ractice Many experiments on the prop e rties of heat a r e detailed in the M8 3 :

1 1 8 LE ONA RD O DA VI N CI . a W V dorn the indsor collection . asari speaks also of of his work on the anatomy the horse , but this has utterly disappeared .

Vasari says that Leonardo devised a method of f per orating mountains , so that they could thus be easily passed from one plain to another 3 and on “ the other hand , he wasted not a little time de

n i of sig ng a series cords , curiously intertwined, but of which any separate strand may be distin

uish e d f on e o e g rom end to the other, the wh l ” forming a complete circle . It was an age of ever new and delightful sur

V C0 prises to geographers , with asco de Gama,

C O lumbus , Magellan , and abot on the pen seas ;

L f of A V and eonardo , the riend merigo espucci, was keenly alive to the importance of their dis

A C of c ove r ie s . In the tlantic odex he drew maps th e districts where his canals were made , with

t of E A N o hers urope , sia Minor, and orthern A ’ Af St. rica 3 and quoted ugustine s words , in the

’ ' ' ‘ D e Czw fa ze D e z t of a n , against the possibili y the

I i ode s if C . p , as in raillery at Mother hurch He “ also made a note to write to Bartolommeo , the

T of P Se a urk, about the ebb and ﬂow the ontic , a n d to get information as to whether a similar A S 1 1 A N IN VE N TOR . 9 phenomenon exists in the Hyrcanian or Caspian ”

Se a .

It was natural that he who was at once a s cie n tis t and a skilful musician should devote much f time to the study o acoustics . He analyzed the phenomena Of echo 3 attempted to measure the time which sound took to pass over certain dis tances ; and argued naively as to whether the

18 1n sound the hammer or the anvil . He wrote many passages on these and cognate questions , and often seemed to be on the very verge of some great discovery, which, however, he never quite attained . C A aptain ngelucci , a modern Italian writer, has

’ L n ﬁr e — described eonardo s inve tions in arms , and maintains that he was among the ﬁrst inventors of - - for siege artillery, wall pieces , and mortars , whose founding and boring he laid down many rules . He also increased the powers of the not

— yet obsolete catapult, ballista, ram , and cross bow .

A mong his plans are found weapons like the Gat~

a n d if ling gun , cannons with bent barrels , which , f d success ul , coul have shot around corners . He a th e of dvocated use conical shot, and the aug

of of mentation the charges powder, which , he 1 0 2 LE ONA RD O D A VIN CI . a z of rgued, must be increased as well in the si e .

of its grains , else a quantity unburnt powder would leave the gun . It is almost impossible to enumerate all the in ve n f A m n tio s o this universal genius . mong the

of e we may speak a proportional compass, a lath for h turning ovals , an ygrometer 3 an ingenious sur

ic a l u - g probe , a niversal joint, dredging machines , wheelbarrows , diving suits, a porphyry color

~ grinder, boats moved by paddle wheels , a roasting

- j ack worked by hot air, a three legged sketching

f for im stool which olded up, a revolving cawl ch

i — - for neys , r bbon looms, coining presses , saws stone ,

- n ﬁle silk spindles and throwers , wire drawi g and

- cutting and plate rolling machines , and many ff o t . ther inven ions, in widely di erent ﬁelds He also devoted much time to devices by which men might walk on the sea, with broad wooden i f f d scs on their eet . A nother study which he ound m f e ost ascinating was a rostation , and he contrived various machines to enable men to ﬂy through the

. f w of air He care ully atched the ﬂight birds, to see if he could not ﬁnd a motive and directing

w n A s po er analogous in the huma body . to i ” “ writing so detailedly about the k te , he said, it

1 2 2 LE ONA RD O D A VIN CI .

could, on occasion , write in the ordinary manner. Some authors suppose that he used this strange

‘ b a ﬂl e chirography in order to prying eyes , and keep his notes and discoveries from the knowledge of unauthorized persons . But the generous and prodigal character of the master renders this last

f r of an unsatis acto y theory . The task deciphering M S f his S. is rendered still more di ﬁcult by numer

om1s s 1on s ir r e u ous arbitrary abbreviations , , and g l a riti e s in orthography and grammar . He never

L e on a r do da Vin ci used the name , but always sub V f L in cio . L scribed himsel eonardo , or eonardus

V n c iu i s .

L Or c a n a e u eonardo , like Giotto and g , was an th usia stic tu of D in s dent ante , and derived high

' spiration from the melodious stanzas of the D ia z

' n a Commedza . His own achievements as a poet

e and are all lost, except one quit philosophical sonnet

n n ot h n t If wh a t th ouw oul ds t th ouc a s t , t e n c o e n t th e e

h u a a t It is b ut foll To will a s t o m ys t c . y

To will wh a t c a n n ot b e s oon l e a r n s th e wis e

To wr e s t h is will fr om b ootl e s s wis h e s fre e .

O ur b lis s a n d woe de p e n d a like on kn owl e dge

h a n own to o it Of wh a t we s h oul d do, a n d , t t k , d . A F A B L E 1 2 . 3

But h e a l on e s h a ll c om a s s th is wh o n e v e p , r

a r h is will wh e n r i h t b e for e h im t n Doth w p g s a ds .

A ll h e c a n d o ma n ma n ot s a fe l will , y y .

Oft s e e me th s we e t wh a t s o on to b itte r tur n s .

H ow h a ve I we p t of s ome fon d wis h p os s e s s e d !

Th ou th e r f r r h lin , e o e , e a de r of t e s e e s , w oul ds t th ou

Coun t with th e ood a n d to th e ood h e de a r g , g ” W n ill o ly to b e p ote n t for th e r igh t.

f of n He also wrote several ables, one which ru s

A of thus razor, having come out the sheath f in which it was usually concealed, and placed itsel

r e in the sunlight, saw how brightly the sun was

ﬂe cte d f f rom its sur ace . Mightily pleased thereat, it began to reason with itself after this fashion Shall I now go back to the shop which I have just quitted ? Certainly it cannot be pleasing to the gods that such dazzling beauty should be

of W linked to such baseness spirit . hat a mad ness it could be that should lead me to shave the soaped beards of country bumpkins ! Is this a form ﬁtted to such base mechanica l uses ? A s s ure dly not 3 I shall withdraw myself into some secluded spot, and in calm repose pass away my

’ f o li e . Having therefore concealed himself f r 1 2 L 4 E ONA RD O D A VIN CI .

n n some months , on leavi g his sheath one day a d

t n f f re ur ing to the open air, he ound himsel looking t just like a rus y saw, and totally unable to reﬂect f f the glorious sun rom his tarnished sur ace . He lamented in vain this irreparable loss , and said to himself : How much better had I kept up the lost

of s f keenness my edge , by practi ing with my riend

of the barber . What has become my once brilliant surface ? This abominable rust has eaten it all ’ If up. genius chooses to indulge in sloth , it must not expect to preserve the keen edge which the ” f n rust o ig orance will soon destroy . Three sentences written in his late r years are full of profound wisdom When I thought I was

n i . A learning to live , I was but lear ng to die

A s t life well spent is long. a day well spen f f gives a joy ul sleep, so does li e well employed give a joyful death .

f The ollowing aphorisms and suggestions , ex

of tending to the end this chapter, have been se

’ l e cte d from Leonardo s writings

“ is a . Theory the general , pr ctice the soldiers Mechanics is the paradise of the mathematical f s ciences , because therein one attains their ruit .

1 2 6 L E ONA RD O D A VIN C I .

n f a r reverence , not consideri g that my acts e obtained by simple pure experiment, which is our real mistress . “ S for pirit has no voice , where there is voice

oc there is body, and where there is body there is cup a tion of place . There can be no voice where h of t ere is no movement and percussion air, no percussion of air without some instrument,no in strument incorporeal . “ W r hen all seems easy, it is an uner ing sign that the workman has but scant ability, and that the task is above his comprehension . The criticism of enemies is more valuable than

of f f the praises riends , because riends desire only f to gild our de ects . Those who give themselves to ready and rapid

f r e practice be ore they have learned the theory, semble sailors who go to sea in a vessel without rudder or compass . A painter who servilely abandons himself to the

of manner another painter, shuts the window on

of truth , since he ought not to augment the works

h of men , but t ose nature .

of of In the silence the night, recall the ideas D i the things which you have studied . esign n RH I 1 2 A OR S MS . 7 your spirit the contours and outlines of th e ﬁgure s that you have seen during the day. Where the spirit does not work with the hands, there is no artist .

Do not allege as an excuse your poverty, which does not permit you to study and become skilful 3 the study of art serves for nourishment to the d t bo y as well as h e soul . Contrive that your ﬁgures receive a broad light f rom above, particularly in portraits , because we see people in the streets receive all the light from above . It is curious to observe , that there is not a face ever so familiar but would be recognized ffi f with di culty were it lighted rom beneath .

Do not make muscles with hard lines , but let f the so t light glide upon them , and blend into de lightful shadows ; this gives grace and beauty to f the ace . f Black is the most beauti ul in the darks, white

str ofi e s t f in the g light, blue and green in the hal

e tints , y llow and red in the principal light, gold

f- in the reﬂexes , and lake in the hal tints . For harmony of colors contrast blue with pale A yellow or white, and green near red . pale yellow 1 2 8 E NA RD O DA VI L O N CI . will cause red to more beautiful than if opposed to purple . Take care that the shadows and lights be

t o uni ed, or l st in each other, without any hard ” — m e i s o or in e s a s s e s itse f in a r . tr kes l , ok los l

1 0 A 3 LE ONA RD O D VIN CI .

e s t a n d h t n , tardy but ear y praise has at last bee awarded to the faithful and affectionate disciples

of L the great eonardo . S f oon a ter his arrival at Milan , the master

f A ca de mia L e on a r di Vin ci ounded the , to which he devoted a large proportion of his time for many

years . His numerous treatises were doubtless prepared as rough notes of his lectures before the

A t of cademy, and reveal a clear and practical urn

m ' ind, and noble advice conveyed in the simplest

No follow rms . master ever had more devoted x e r s , or disciples who adhered so long and so care

fully to his tenets 3 and it would be diﬂi cult to ﬁnd f A a school with so many amous names . mong

’ L S d O ion e Cc ~ these were uini, olario , Marco gg ,

S Be ltr a fﬁo L sare da esto , , omazzo , and many oth L e r s of renown . anzi says that this was the ﬁrst

\ of a cademy design in Italy, and gave the law to

r f ﬂth e s elsewhere . For many years a ter the mas r ter depa ted, his school continued to ﬂourish ,

of f maintaining the principles the ounder, and

of forming many excellent artists . These lights i L f ’ the ombard school , ollowing their patriarch s

a dvice and axioms , became exceedingly accurate

in a n t tiquity and cos umes , and excelled in a cer NA RD O’S A A I 1 LE O C D E M Y. 3

f of f Le o tain ﬁne relie portrayed aces , heeding

’ nardo s maxim to make as cautious a use of light

for of . as a gem , reserving it always the best place

They also obeyed his canons on perspective , to which Benvenuto Cellini acknowledged his in de b te dn e ss C ; and on hiaroscuro , wherein Mengs declared that no one could surpass Vinci ’ s gran d ff e ects . Lodovico frequently proposed problems to his

on e o artist to solve , and day he demanded to kn w which was the nobler art, painting or sculpture . Lomazzo says that the master wr ote a tr eatise on

e this theme, concluding that the more the xercise f o an art wearies the body the less noble it is . The Regent was indeed the chief patron of the

A for cademy, since he had many years advocated

of t ‘ the establishment such an insti ution , in the

of interests his brilliant court . Leonardo had f several pupils in Milan , as we ﬁnd rom his manu

f o of scripts , and received r m each them the sum of one dollar a month . He led them to study ﬁrst m causes and the si plest methods , praising Giotto “ a n d of Masaccio as students nature , who is the ” of mistress us all . A n dre a Solario was on e of th e foremost of these 1 2 E 3 L ONA RD O D A VIN CI .

n d t r s a re -of s - disciples , a his pigug w tentime con f w of ounded ith those his master . He belonged to the family which for so many decades super intended the works a t Milan Cathedral 3 and wa s f a terwards summoned to France, as the worthiest

f of e e x e representative o his school art . Her he c ute d r C of his g eatest works in the astle Gaillon ,

’ for C d A mb ois e — ardinal , noble mural paintings which were afterwards destroyed by revolutionary f fe w - anatics . But the easel pictures which remain to t of L a our day, show tha the inﬂuence eon rdo

of was paramount over him , in its best phases har m ony and suavity . Cesare da Sesto was a pupil of_ Le mm f t

M a nd ilan , went to Rome at the same time as his

L ~ teacher. omazzo called him the happiest imita

of th e L n a tor master, and a zi reported that he p pr oa ch e d nearest to his style . Many a noble saint and fair Madonna did Cesare paint for the Lom bard churches , in the tender harmony and beauti

f V n n ful coloring o the i c ia manner . He imitated his master in making prolonged and most minute

to preliminary studies , and advanced more nearly W W W

c i l s f e a p e could succeed in doing. But the ull m s

I A I 3 4 LE ONA RD O D V N CI .

Francesco Melzi was a Milanese of th e nobl e

i v house of Melzi (of which the Duke of Melzi is

e the present head), who executed pictures that wer f for of s o requently mistaken those his master,

a of L nearly did he pproach the manner eonardo .

f r t for h f for L Un o unately imsel and ombardy,

wa s f Melzi rich , and there ore bestowed but little

fe w n s. atte tion on painting, and ﬁnished but picture

’ He was one of Leonardo s warmest and nearest f f V L riends , and urnished asari and omazzo with f n otices of his li e .

’ Sala i stood in a humbler relation but his na m e

’ of M e lz i s e of h is o e takes precedence , becaus m r numerous and more excellent works . He too was

of beloved by the master, and became the object his most solicitous and tender care .

L th e - n i f Bernardino uini, poet pai ter, was the ch e

’ of L a heir eon rdo s inspiration , and yet it does n ot appear whether he was ever his pupil or not, h f A although e certainly requented the cademy .

t ’ He was so imbued wi h the master s spirit, and so i f f sk l ul in art, that his works have o ten been

r f L On e of th e mistaken fo those o eonardo .

‘ most important of these was th e Chris t Disput

’ th e Do a e in th e r ing with ctors , nobl work B itish 1 L [U N] . 35 N ational Gallery, which was long attributed to the L f f elder master . uini came rom the beauti ul m un tr of N y orthern Italy, his birthplace having

of L L a k e been the hamlet uini, on Maggiore 3 and adorned the Lombard cities with many of the

of most exquisite works art, natural and unstudied, u d and replete with tran q il faith and calm ignity.

’ Lanzi maintains that Luin i s fame is due to his

“ of A m mastery the cade y precepts , and to his

' a n own genius , vast in its kind, d equalled by very

f r fe w. o I say in its kind, I allude to all that is ”

if . sweet, beaut ul , pious , and sensitive in the art A nother noble painter of Northern Italy was Bon

of i vicino Brescia, whom his contemporar es called

I ! M or e n o ; and the inﬂuence of the school of Milan is clearly traceable in his calm and saintly

of pictures , scores which are still preserved in the

s of churche Upper Italy . Two other famous artists who owed much to the

of L n ! Sod~ precepts and principles eo ardo , were I G d doma and au enzio Ferrari , masters whose n ames n ow s ta nd high in the temple of fame .

I u of Vin c ia n A d errari was a p pil the ca emy, and afterwards became the disciple of Luini and the

of L master omazzo . 1 6 LE ONA RD D 3 O A VIN CI .

of There are numerous pictures the Madonna, which have been designed or retouched by Leon a rdo, or executed so entirely under his inﬂuence that critics and connoisseurs differ widely as to

t whether they should be a tributed to him , or to

L Sa l a in o S . A uini, , or olario mong these are the E pictures at Madrid and in the sterhazy Gallery, which Via r dot defends against the claims a d va n ce d f of L P on behal uini, by assavant and

m on e u f Fu agalli ; in the Br ssels Museum , ormerly

of belonging to the King France , and presented u L by the Republic to Br ssels , in the year XI 3 ord

’ Se b a ti A . s shburton s Madonna, brought by Gen a m f E r rom the scurial prio y, and attributed by W L V A aagen to uini 3 that in the illa lbani , at

L a n 21 Rome , praised by Mengs and , but depre c ia te d by Passavant 3 that sold in the Pour ta lé s f S Gallery, ormerly belonging to the panish royal f m V L a ily ; the irgin holding a ﬂower, with ake

C th e n A omo in backgrou d . now at lton Towers ,

P S 1 i u a and attested by assavant ; the olar o M do n ,

’ L L r e d in the ouvre , whose design , in eonardo s d A chalk rawing, is still preserved at the mbrosian

Library ; the picture formerly owned by the A rch ll o of th e Ga e r v. bish p Milan , and now in Brera

I 8 LE ONA RD O D A VIN C 3 I .

Ufﬁz i A V e the , at Florence 3 the cademy, at enic ; th e A e V L th e lb rtina, at ienna ; the ouvre , British W C C C Museum , indsor astle, hatsworth , hrist

C C of E of hurch ollege , and the collections the arl f W . o P arwick and Mr Malcolm oltalloch .

’ Leonardo s tech n ical usages are minutely de

’ “ scribed in E astlake s Materials for a History of ” V 8 ‘ f l P l . 6 H i r Oi o . . s a vo ite ainting, ( II , pp

n - var ish was distilled nut oil , thickened in the sun 3 and he feared the yellowin g of the oil so greatly that he gave pictures a purplish or violet tinge to

of counteract it . He also made some use spike

f n w oil , distilled rom lavender . His car ations ere the color of wine -lees ; and he used opis s o for a

of o red . He stuccoed the backs the wo den pan e l s on which he painted, in order to protect them f against the attacks o worms . In his pictures he strove to attain s culptur e ff r o e c sque e ects , with a definite rounding and p j “ tion to the figures . He said that The first object of a painter is to make a simple fl a t surface appear

f of d f like a relie , and some its parts etached rom the ground . He who excels in this deserves the f greatest praise . This per ection depends upon

n of a the correct distributio lights and shades , c lled L O 1 E U GIE S . 39

h Chiaroscuro . In order to attain this requisite e

ﬁnished backgrounds and draperies ﬁrst, and then devoted his utmost skill to a mic r os c Opic treat

of t mo ment the ﬂesh , giving its lucidi y and isture, and the ﬁnest anatomical details . Vasari adds

It is worthy of admiration that this great gen . f ius , desiring to give the utmost possible relie to h im the works painted by , labored constantly, not content with his darkest shadows , to discover the ground tone of others still darker ; thus he sought t a black tha should produce a deeper shadow, and be yet darker than all other known blacks , to the end that the lights might by these means be ren dered still more lucid, until he ﬁnally produced

a b s o that totally dark shade , in which there is lute l f y no light le t .

In the words of the A bbé Lanz 1 “ In my Opinion Leonardo succeeded in uniting minuteness and sublimity, these two opposite f t qualities , be ore any other artis . In subjects which he undertook fully to complete he w a s not

ﬁ f th e ds u t satis ed with only per ecting hea , co n er f of of eiting the shining the eyes , the pores the

of of skin, the roots the hair, and even the beating t o 4 LE ON A RD O DA VIN CI . the arteries 3 he likewise portrayed each separate garment and every accessory with minuteness .

h is ~ Thus , in landscapes , also, there was not a sin

f of n gle herb or lea a tree , which he had not take i f f of l ke a portrait, rom the select ace nature ; and

r f to his ve y leaves he gave a peculiar air, and old ,

s and position , best adapted to repre ent them rus

of tling in the wind . The characteristic this incomparable artist consists in a reﬁnement of

of taste , which no equal example , preceding or ” f f . ollowing him , is to be ound A rsene Houssaye says that “ what makes Leon

n f ardo great amo g us , is that he ormed the beau if If t ul without copying the antique . ever a work altogether divine was shown on earth , it is a u L ” ﬁg re painted by eonardo . Rio thus closes the record “ L o V if th e e nardo da inci is the ﬁgure , not m ost interesting and the most pure , certainly the m of ost grandiose that the history art presents , ” n ot excepting Michael A ngel o himself .

1 2 4 L E ON A RD O D A VIN CI .

L CCA . Ca sa B uon visi U , M a don n a .

VE NICE . A ca de m Dr a win s . or r e r us y , g C M eum,

Cae sa Bo ia r rg .

P RMA . ivic Ga ll e r H a A C y , A e d.

A PRIO . T V h e M a don n a , in fr e s co .

FRA NCE .

— u — M n n Li a PA RIS . Tn e L o vr e o a s Luc e z ia Cr ive lli , 3 r 3

Vi a ux Ro h e r s : Th e M a don n a hild n L a e e c C a d St. rg , ,

A n n e 3 S a in t Joh n th e B a p tis t ; Th e M a don n a with th e

Sca l e s .

N ORTH E RN E UROPE .

VI E NNA . H a r r a c/z P a l a ce Ch r is t Be a r in th s , g e Cr o s .

Licﬁie n ste in P a l a ce H e a d of Ch r is t A L a d . , 3 y M i a de m a don n a Por tr a t of L e on a r . E ST. A c do P y , 3

BE RLIN . Muse um, M a don n a a n d Ch ild .

’

VVoma H . U GSB U RG . Ga ll e r A n s e a d A y ,

R . Rol/te . M a d n n a M U NICH . P in a o

a l /ze dr a l . H a d Of Ch . A NTWE RP . C e rist i O E NH A GE N . Ro a l Ga ll e r St. Ca th e r n e . C P y y ,

U Ro a l Ga ll e r Le da Fl or a . TH E H A G E . y y , 3

‘ b mzza e P a l a ce H ol F PE TE RSB U RG . T e H e r a m ST. g , y

tia n . ily 3 St. Se b a s

GRE A T BRITA IN .

— a l zon a l Ga ll e r Ch r is t Dis utin with L ONDON . N y , p g

t r s Ro a l A ca de m — Ca r toon of th e Vir in th e D o c o y y , g

d A slzbur ton — Th e In f a n t e sus a n d t. A n n . L or a n d S e , J I 1 L S T OF P I CTURE S . 43

’

M n n . a or d H a d oh n th e Ba tis t a do a H l M a d on n a s e . J p 3 f ,

Cb a r l ton P a r R E a r l of Suffol k L a Vie r e a ux Roch e r s . ( ) , g

Ga l l on P a r k Coun te s s of Wa r wick — H ol F a mil for ( ), y y (

’ ‘ i z zn ous r h me r ly L or d M on s on s ) . Tb r l e s a e H e (L or d No t wick — a t t/z r M a n n . n sw or Duke of D von h i e ) , do a C ( e s ),

’ - A Youth H a l l M a d on n a . B a sildon s Por r i . Wooton t a t ,

' a r l Fe ma l Fi ur . P , e g e

XF u l e a l k h e . O O RD . Cb r ist C/z r c/z Co l e Se ve r S e tc s g ,

I hr l s f D a in s . W NDSOR CA STLE . T e e Vo ume o r w g I N D E X .

ca de m Th e 1 2 . Codice Triul z ia n A y, , 9 o, 29.

ousti s 1 1 . Col mb i a A c c , 9 o n e , L . 76 . A d a m a n d E ve 1 Con ve n t Th omin i , 5 . , e D ca n , 42.

A dda Rive r . Cr e di or n z , 39 , L e o di, 1 3 . A d r a l ia n o th e M a i 1 6 o f g , .

A er os ta tics 1 20 . , Da n te Discusse d 6 l h m , 5 . A c e y , 8 3 . D e a th , 1 0 2 . A l in e Sce n e r o . p y , 3 D ll T r r e a o e , 3 7. A mb ois e . , 9 3 D e s tr uc tion of Th L a e st S uppe r , so. A me r i o Ve s ucci 1 6 g p , . u ul tur 1 6 Do b tf P c e s . i , 3 A n a tom 1 1 y, 3 7, 7. D r a win s 1 ’ g , 38 . m e A n e lo s Co tItion 6 2 8 2 . g p , , D n a mic s 1 1 ’ y , 7. n e l s a . A g o L s t yudg me n t, 8 7 i A n h ia r 6 2 . g , E n in e e r to Bor i g g a , 59. A h on s ms 1 2 - p , 4 1 2 8 . E n r a v n 1 1 4 . - g i g, rtil 1 0 A le r y , 2 2 , 6 , 1 1 . 9 E ue s tr za n S t h 6 q ta ue , T e , 3 1 , 3 . A utoma t c L ion 2 i , 9 .

a l e o f th e R a z or 2 F b , 1 3 .

Ba tis te r Th e , 66 . r i 1 p y, F e rr a , 35 .

B a ttl e o th e S ta n da r d 6 2 . l s ta f , Fie s o e , E te a t, 0 . ’ 9 Be a tr ic e d E s te 2 . l e fr om Stor ms , 35 , 4 F e , 40 . ‘ B e l tr ﬂi a o , 1 . F l r e n c e E n i 3 3 o , g n e e r of, 6 1 . ir ds B , 1 . l e n c R e tu 9 F or e , r n to, 5 4. B m W o b p r oof a on s, 2 2 . n ta in e l g F o b e a u, 1 03 . B ota n 1 y , 1 5 . r 1 1 Fo c e , 7. B ottic lli e , Sa n dr o, 5 5 . F os s ils 1 1 , 4. r B d e s , 2 1 . i g Fr a n c e 2 . , 9 D Is 0 1 0 F r a C I . 9 , 1 .

Cae s a r B r i F r a Pa ciolo 1 0 8 . o g a , 5 9. , 39, 5 4, Ca n a ls 2 0 o 2 1 1 6 Fr e n c h A r mie s , , 3 , 3 4, 3 8 , 7 , 95 , . , 3 7, F r e n h A r t a r t n s . c . C oo , Th e , 6 3 , 94 e ili ll a n i C c a Ga e r , 2 7. i u i s Ch e mis tr 1 1 Ge o r a h c a l St d e 1 1 8 . y , 5 . g p ,

Ch ild Ch r is t Th Gin e v r a B e n e i 6 . , e , 8 7. , 5 ’ h r a C is t s H e d , 48 .

Cl e r a tir e s on th e . H a n dwr itin 1 2 1 . gy , S , 97 g, a m zl Th 8 l f H ol F e . C oux , Ch ate a uo , 93 . y y , , 5 ’ l H ouss a e s ue s t 1 0 . Cod e x , A t a n tic, 1 1 0 , 1 1 8 . y Q , 4

COPY RIGHT.

SGOOD 8: CO. Bv H OUGH TON, O

1 8 78 .

' WI LSON SON Umvrms x r v P RE S S : J O H N , CA M BRIDGE

4 PRE FA CE .

Several interes ting facts have als o be en obtained H t i ’ i li . W l s s u s d i r m . C n f o Mr ea h on b ography, p b he

m i E lis l Fl a t th e s t m in th e u . orence a e e, ng h ang age

’ In many pas s ages Wil s on s work is merely a para

’ s of Gotti s a n d its ut id tl l d phra e , a hor ev en y abore under th e s erious dis advan ta ge of a s light acquaint

n it th e t li l u w f h a s d a ce w h I a an ang age, here ore he ma e

’ fr u t mis t s l i s in th e s of A l s eq en ran at on , even ca e nge o

' s d to id t s s i us letter . I have endeavore avo he e er o errors by r e -tran s lating th e original letters from th e

ll ti s of G B tt i a n d il s i. co ec on aye, o ar , M ane Other authorities herein cons ulted are th e b iog r a h ie s of A l itt n H m G im ut p nge o wr e by er an r m, Q a re

e de ui Du H f d P i s C di i m re Q ncy, ppa, ar or , erk n , on v ,

n d V i m us ti l s in P tf li A r t a asar ; nu ero ar c e the or o o,

l a n d G z tt d e s B ux A ts th e u ts j ourna , a e e ea r ; acco n of various travellers in Ital y ; a n d the opinions of cer

ll- o i i tain we kn own a rt c r t cs .

M. F . SWE E TSE R. CONTENTS .

CHA PTE R I.

- 1 A GE 1 473 495 . P

’ — — he rs In th e M e dici tle A .n e l s Pa r e n ts . His Te a c . Ca pture Ca s . g o — — i re n c — urn a n d Pa la ce Th e Pla ton is ts . Fl gh t fr om Flo e Soj o Works a t Bologn a 7

CHA PTE R II.

1 6- 1 0 49 5 5 .

— — m ti l e s a R me e Da vid Th e B rue s M a don n a . Co e Scup tur t o . Th . g p - umm n e R me ra S in . tion with Le on a r do da Vin ci. o d to o . Ca r i Pope Jul us II.

CHA PTE R III.

- 1 1 506 5 1 3 .

’ ' Fli h R n ti - II S e An ge lo s g t. The e co cilia on . Julius . s ta tu a t Bologn a . Th e F re s cos in th e Si stin e Cha pe l 38

(SIIAl e HR IVK

1 1 —1 2 2 5 4 5 .

a ha e l a n d A n e la — Th e B uon a rr oti F a mil Le X — Th c F a a R p g y . o . g de of Sa n Lore n z Life a t th e ua rri — P e o. Q e s . op A dria n VI. 59

CHAPTE R V.

1 2 - 1 2 5 3 5 3 .

l re ti me n t I - La ur e t L — o n n e La b ors . le VI F C . n ia n ib ra ry . Buildin g

F rtiﬁca ti n — Th e Sie e f F re n -F o o s . g o lo ce . a ll of th e Re public 77 6 CON TE N TS .

CHA PTE R VI.

- 1 5 33 1 546 . PA GE

e ci a e l — Pa III -The La s t u — Th M e di Ch p . ul . J dgme n t. The Ca pitol. e F Pal a Th e Sta tue f M Th ar n e se ce . o ose s 90

CHAPTE R VII.

I 547‘ 1 5 53

’ — e e r n r ' Vittoria Colom A n g lo s Po t y . Le o a do Buon a n oti. Mode of Work u: a n d Frie n ds .

CHA PTE R VIII.

- 1 554 1 564.

’ ' f — The Pa ulin e - F The Ba silica o St. Pe te r s. Cha pe l. lore n tin e Oﬂe rs. — — — ' The Gre a t Dom The Las t Sw ip ture Da th 01 A n gelo 1 30

8 MI CH A E L A N G L E O. and the astrologers demonstrated that Mercury a n d Venus were then in a friendly aspect in the house of w o his of ar t Jupiter, hich pr ved that works , whether as con ceived in the spirit or performed b y

- ‘ d w: u1l d l a n d d . the han , be a mira e stupen ous

L L ar - S A n odovico di eonardo Buon roti imoni,

’ f 1 of th e gelo s ather, was in 4 74 the governor

as t of c le, which he held in the name the Flor

t C i ri of entines, together wi h h usi and the dist ct

n f f - S the Case tin o . The amily o Buonarroti imoni had been eminent in Florence , and claimed

f th e t C of C descent rom celebra ed ounts anossa, in Northern Italy a relationship which A ngelo was

r of a n d of C f in p oud , the head the anossa amily

’ n L w f his day recog ized . odovico s i e was Francesca del Sera ; but the infrequency of allusions to her in after- life shows that her great son had but slight

h e w t of . S a s memory her hen nineteen years old,

L wa s t t - and odovico hir y one .

W his t of f C hen erm o ﬁce at aprese had expired , L u odovico returned to Florence , pa sing brieﬂy at

l S n i of his vi la at ettig ano, on the h lls eastward

h fr O in Fiesole , t ree miles om Florence, and verlook g

’ f Val d A r n o t a n d the beauti ul and its queenly ci y, th e distant snowy heights above Vall ombrosa . He A T S CH OOL. 9

f n f of - le t his i ant son there, in the care a wet nurse, wh o was th e daughter of a stone - mason a n d also th e f of - t a s f wi e a stone mason , so hat, he a ter

a ov for w t wards said, he imbibed l e marble i h

s f his ﬁr t nourishment . He was in his in an cy surrounded by th e implements of sculpture and the quarried blocks from th e neighboring ledges Of gr ay sandstone ; and his in nate love of design found expression in rude char coal - sketches on the w f w t o e r . alls, some hich are s ill pr se ved

Lo ft his dovico a erwards sent son to Florence, to attend the school of Francesco Venturini of

f r m t Urbino, the amous g am arian , whom tradi ion

h e f t o . assigns as teacher Raphael, some years later

’ But t s f i even at hi early day, the boy s chie del ght wa s to handle a pencil , and to endeavor to express

f n a h his ideas and a cies by that medium . He s tra c te d the time which should have been devored to

a ll s e r for his books, and gave up his lei ur hou s, the

e of f his s ra n a c c 1 as o . G developm nt this p sion oul ,

t i i of a weal hy and accompl shed pup l Ghirlandajo,

th e in aided lad by lend g him drawings, and he also sought th e compa ny of other artists But Buonarroti had intended his boy for th e silk and woollen tra de and as soon as he discovered that 1 0 MI CH A E L A N E G L O. these artistic predilections were likely to disturb th e

h for f an h e f e sc emes his uture adv cement, orbad

for such amusements, and punished him severely Th f the inevitable disobedience . e pride o the family cried out against one of its members who

o should dishon r the Buonarroti name, and lessen

‘ its commercial revenues, by embracing the little esteemed and scantily-paid profession of a worker in marble a n d on canvas .

A n a ll But gelo remained ﬁrm, through perse o t f utions, un il at last the reluctant ather yielded ; an d A 1 8 8 of in pril, 4 , the lad entered the studio

D for e mc p in omenico Ghirlandajo, the st ainter

m for f Florence, e inent delicate minuteness, skil ul perspective, and rich coloring . His style was fo of as unded on that M accio , with the subsidiary groups in his pictures en r iched by numerous portrait - ﬁgure s of the famous me n and b eautiful

wa s i women of his time . He at th s time thirty s n a eve ye rs old, and had attracted to his studio n umerous pupils, and executed notable pictures in

n A n the cathedrals a n d pal aces of Tusca y . gelo labored un der his n e w instructor with intense

use li f . a ssiduity, and gave himsel no relaxation F

w . ell says, that he seems to have had no boyhood

MI CHA E L A N GE L O. which h e gave to th e forms of the monsters in th e

A t n o h m - picture . a t er ti e he copie d a portrait head so ex actly tha t h is work wa s mistaken for the

th e o e f e original, by m st exp rt judges, especially a t r

a of he had smoked it, and given it an appear nce age .

’ Ghir landaj o had but little in ﬂuence on A ngelo s

c f style, be ause the youth was removed rom his t W e m s udio ithin a year, and placed in the acad y

’ w L z o f hich oren de Medici had ounded, near the

’ m a of t S . . C P on stery Mark osmo de Medici, ater ” P ae s d of e atri , had ama se a vast collection anci nt

n tu m a n d and moder sculp res, paintings, rare ge s,

or of f e n other w ks art, which had been urther

e L illustriOus rich d by his grandson orenzo , the

of th e on e of f m head Republic, and its ore ost

L n scholars and philosophers, ore zo arranged these

r of a t e a e treasu es in appropriat g lleri s, which he

to opened students, establishing prizes and pen

th e of th e sions, and placing school under the care s th e f vo t Of D a culptor Bertoldo , a ri e disciple on

Th e e tur s of lor tello . w althy and cul ed ociety F

r f for wi ence, and her ra e acilities artistic studies, th

ul t m ma the res ing achieve ents, de her at this time

f th of the most brilliant o e cities Italy . r TH E M E D I CI . 3

’ Lorenzo de Medici asked Ghir landajo to choose two of h is for of best pupils, the privileges the

fa t w A n academy, and the vored you hs ere gelo and

a a f ar Gr n c c i. The ormer had hardly yet le ned the rudiments of sculpture ; but Bertoldo found in him a ready pupil, and his ﬁrst work in marble, a copy of a n antique mask representing the head of a f n of f au , attracted the notice Medici himsel , who f suggested, however, that its teeth were too per ect w for an old man . Lorenzo was so pleased ith the

’ f h A a n d skil ul c anges wrought by ngelo s chisel,

u f of his heard s ch air reports diligence and genius, that he asked Buonarroti to allow his son to live at

P own r the Medici alace, under his pat onage and a f u c re . The ather consented, tho gh not quite

i n in tun w lli gly, and received, re r , a position at the custom - house ; while the young sculptor was as

n a in a n d Lo sig ed room the palace , a seat at ren ’ if f. zo s table, as he had been a Medici himsel

n of f He was, i deed, treated as one the amily and for thr ee years lived on terms of the closest in ti m L t acy with its members . orenzo took a ruly

t n r ot n pa ernal interest in his you g p égé, instructi g

in ft n to ~ him lo y themes, displayi g him his unri va lle d n of m a n d in him a ke collectio s ge s, giv g y 1 4 M I CH A E L A N GE L O. to th e gar dens in which th e antique sculptures w al him f ere placed . He so allowed a pension o

a n d r v him w a ﬁve ducats a month, p o ided ith

- A n me n violet colored mantle . mong the emine t whom he met frequently at his master’ s table were

L ’ i ft orenzo s sons, Giovanni and Giul o, who a er w r VI I . a ds b ecame Popes Le o X . and Clement C i ’ Bibiena and ast glione, who were Raphael s dear

f P n n est riends ico della Mira dola, the pri ce, poet,

P n and scholar ; olitia , the elegant poet and pro f h ic in o ound p ilosopher ; and F , the learned head of P A Wh o in the latonic cademy. that lived such a society could fail to grow in intellectual power a n d vigorous character ? The keen susceptibilities of the young Buonarroti were deeply impressed by — i those things which he daily heard, the ph lo o of th e A s phic discussions cademy, the melodious

of n an songs the Re aiss ce poets, and the heroic

a words spoken for pure religion by Savonarol .

in Here, then, these golden years, the happiest a n d of f A n n i brightest his li e, gelo lear ed to th nk

n of n deeply, under the guida ce the oblest minds of t w I aly. It were perhaps un ise to conclude that a t his tender age (he wa s but ﬁfteen whe n h e

J e n tered the pal ace) he could have c ompre h e n de c

1 6

n n f o e n chieﬂy i lo g and amiliar c nve rsations, wh rei H he incited him to renewed labors in his art . e

’ proposed a s a subject for A ngelo s chisel the battle

C o e between Hercules and the entaurs, an appr priat theme in a community whose members were so devoted to classica l literature . The resulting bas

’ f t e relie , executed in the sculp or s eight enth year,

C c on is still preserved in the asa Buonarroti, and

of tains a great number vigorous ﬁgures, inter

ﬂ al twined in desperate con ict, and reve ing already the sublimity with which in al l his later works th e master imbued (and sometimes overcha rged) th e f simple elements o nature . While A ngelo was thus dwelling in the Medici P u alace, and studying sculpt re, he also devoted many days to the contemplation and copying of the wonderful frescos of Masaccio in the Carmin e

C - f w hurch, the same which a ter ards so deeply

A S h a d inﬂuenced Raphael and ndrea del arto, and a r of A n o l eady been the admiration Fra gelic , P t o . s n Botticelli, and erugin His emulou ambi io force d him to work on steadily thr ough h c lida ys

f n and night hours . His most care ul i ve stigations w ~ ere given to the human body, whose e very de vel Opme n t he strove to a n a lyz e a n d comprehend A P UNISH M E N 1 T. 7 a n d in this search a masterly knowledge was ac . quired . He had dead bodies conveyed from the

t of S S hospital to a cell in the conven anto pirito, and these he dissected with consummate skill and f f intense interest . The kind o ﬁces o the Prior of Santo Spirito were rewarded by a cruciﬁx which

A f him. ngelo carved rom wood, and gave to The youth ’ s unremitting studies and productive w t genius soon made him widely kno n in the ci y, and awakened among some of the youn ger artists a f of his eeling jealousy, which was not mitigated by

ai n proud a n d unconciliatory temper . He p d o f f de erence to the amous artists then in Florence,

C d Da V P a n d re i, inci, and erugino ; mingled but little with his brethr en of the younger schools .

P r of f - ietro To rigiano , one his ellow students, grew

n m n a gry at his satirical dog atism, and, comi g to

“ ws w r u blo ith the young sculptor, c shed his nose by

a tr e me n d c us w ft him di for f . blo , and le sﬁgured li e He was carried home as dead but even so severe a lesson as this failed to moderate his language and

f w ar of demeanor, which a ter ards raised such sw ms

wa s a n is for enemies about him . Torrigiano b hed

E ft w d s this assault, and ﬂed to ngland, but a er ar died miserably in the prison of the Inquisition in Spain MI H E [ C A L A N GE L O.

In A 1 2 L n n n pril, 49 , ore zo the Mag iﬁce t expired

f a at his villa o C reggi . In the bitterest of suffer

w of f ings, and ith the signs ervent religion , that

fe t li was extinguished, than which no o her ever was

for w e ar f - prayed ith mor te s, nor in a ter times ” A became more celebrated . mid the consterna

f n tion which ell upo Florence , and was heralded by such a portent as a thunderbolt piercin g th e

’ of C L great dome the athedral, orenzo s young p r otégé grieved deeply at the loss of his kind

’ un L patron, and ret r ed to odovico s house, unable P ’ to attend to his labors . iero de Medici suc

’ c e e de d f n ot to his ather s authority, but to his

a n d fe virtue and wisdom, and by a proud vicious li

ff of lore n tin e s a n d alienated the a ections the F , f prepared the ruin of the amily .

h is a m n A n o In studio at the Buon rroti a sion, gel

' f r n labored o the ext two years to good purpose .

s of He purcha ed a block marble, and devoted him

f ar n t of whi d sel to c vi g a sta ue Hercules, ch stoo

S r P for n ow in the t ozzi alace many years, and is

h a s- f of lost . He also made a relie the Madonna,

’ Don a te llo s i in manner, wh ch is preserved in the i C n . n asa Buo arroti The Taunton Madonna, now th L n N as a e ondo ational Gallery, is regarded

20 M I CIIA E L A N GE L O.

h ﬂ a. s e f leader whom he despi ed, resolved to y rom

Florence .

Th e f- e f two sel exiled artist l t the city, with

n a n d V on compa ions, journeyed to enice, probably f r for oot . But he could not remain the e long, his

of oon st a n d scanty supply money was s exhau ed , he was forced to take up the route to Florence W f . n o n a n again he he reached B log , he ou d that th e Medici and the ir adherents had already arrived

in a n d ﬁ n there, headlong ﬂight, lled its citize s with

A n a n d o n n alarm . gelo his c mpa io s were seized, a s o n suspici us stra gers, and ordered to pay a ﬁne

or to . f go prison The ormer was impossible, and

A n n n gelo would doubtless have bee i carcerated,

n ot Aldovra n di n n had the magistrate , a ge tlema of an d f n of ar culture a rie d tists, inquired about f i m his pro ess on and situation . His sy pathy was

’ al of e o a n d awakened by the recit the captiv s st ry,

n him to in he liberated him, and i vited dwell his

own . e for h n e r house Her he abode more t a a y a , a n d the magistr ate was rewarded for his cha ritable aid by the society of on e wh o could regal e him at will with the dialogues of th e Flore ntin e Ne o

P n or th e of P r D n e . lato ists, poems et arch and a t

Th e e o n n w d of e r a me n r r s u di g or s thes g e t , utte ed N W 2 t B OL OG E SE ORKS . m o n a n d w l the melodi us Tusca dialect, by one el ﬁtted to such exercises by the ripe scholarship of

d u ll A ldovra n di the Me icean co rt, ﬁ ed with delight, whil e the conversation served to beguil e the grief o x l f the e i e .

D n his o r n n A n l o wa uri g soj u at Bolog a, ge s

n to a mal of t commissio ed ﬁnish s l statue S .

P r n Nicc olb B ft in et o ius, which da ari had le

ou r u of t complete the sa cophag s hat saint, and an exquisite kn eeling an gel in the Church of Sa n

Nic c olb P h a d n Domenico, which isano comme ced . Though n either of these works was up to his

of t e ll standard abili y, they (and esp cia y the latter) called forth such praises that the jealousy of th e Bologn e se sculptors was excited again st the

of tw f n in e x . Florentine boy enty, and he ou d it

e die n t n p to remai in their city . f He there ore returned to his home in Florence, and went to work quietly in his studio . For the L ’ younger orenzo de Medici, who had the reﬁned a a of a rtistic t stes his great namesake, he executed h s of St. mall statue Jo n, which long since dis appeared, though some critics claim that it has A recently been discovered at Pisa . nother beauti ful of C i h work this time was a sleeping upid, wh c 2 2 M I CHA E L A N GE L O.

L him orenzo persuaded to send to Rome, to be b r ar for n for u ied in the e th a season , and the sold a n f ar antique . This trick was success ully c ried out ; and Cardin al Riario purchased the exhume d

a u for 2 0 0 o st t e ducats, and rem ved it to his palace

r on the Lun ga a . But he soon began to suspect

wh o the hoax, and sent an agent to Florence, A ascertained that ngelo had carved the statue, and

‘ for 0 w had received it but 3 ducats, being una are of f of n the ull extent the deceptio practised, and w ithout partnership in its proﬁts . The agent invited the sculptor to return with him to Rome

ff th e r and recover his money, o ering him pat onage of the Cardinal ; a n d this proposal was gladly

A o wh o de a for th e E n al accepted by ngel , p rted ter

t fo w Ci y rth ith .

2 4 M I CH A E L A N GE L O. b f s t eauti ul, but the subject repre en ed is the merry

of n t patron the Italian vi tage, ra her than the Greek f O . S conception Bacchus helley, with unnecessary “ s e t l u a n of ev ri y, ca ls it a revolting mis nderst ding

t ” the spirit and h e idea of Bacchus .

A n e b le r o th e work, and one m re congenial to

ft of P a lo y spirit the artist, was the iet , which he

for t D i t h e C S . s h executed ardinal de en , Frenc

c ambassador at Rome . This marvellous group o n s Of V n ists the irgi Mary, sitting near the place of n the cross, and holding on her k ees the body of C the dead hrist, both ﬁgures being exquisitely ﬁ f nished and free rom exaggeration . The reve rent mother gazes upon the cold form of her Son with inexpressible tenderness and a calm and mystic

f f of C r n a n d grie ; while the ace h ist is benig holy,

ll of a al even in the sti ness death . The natomic

of truth the details is remarkable, though the drapery has somewhat of the me dimva l rigidity ff A f and sti ness . ngelo met the complaints o some

V h a d f critics, who held that the irgin too youth ul

t f t of an appearance , by saying hat the per ect puri y A her thoughts had kept her ever young. cavilling f courtier asked where a mother could be ound, like

e a a n d r this one, young r th n her son, the sculpto ”

w P . dryly ans ered . In aradise TH E I 2 P E TA. 5

In this great work the artist fulﬁlled the promise

“ m for f ade him by his riend Gallo, that it shall be th e f l of most beauti u work marble in Rome, and ” u ll wa th at no master living co ld do it so we . It s

th e f P t C o St. ll placed in French hapel e roni a, in f t P ’ o S . A n the old Basilica eter, and became gelo s ﬁrst contribution to th e vast church which he

ft w r t of a er a ds built on hat site, and which the

P a t of iet is s ill one the noblest ornaments . The un rivalled union of true art and pure religious feel ing therein awakened th e liveliest admiration in

R . S w t ome onnets were ritten to it, artis s made

f it A n il f studies rom , and gelo was ha ed as the ore

of o of most m dern sculptors, and equal to those t an iquity . The Buonarro ti affairs at Fl orence were going on

’ A n badly at this time . gelo s mother died while he f fﬁ was at Rome, and his ather had lost his o ce

th when e Medici were expelled . Famine and pes tile n c e menaced the city ; and the head of the f a n for o of his amily, ye r ing the supp rt and counsel

’ ft A o f o t Buon a r gi ed son, sent ngel s av rite bro her

th e s t of roto to Rome, to detail to him sad e ate d his people . The diligent sculptor had save a ce ta of it to r in amount money, and appropriated 2 6 M I H A E L C A N GE L O. se t f w up his brothers in business . His ather rote to

r him, expressing g eat joy at this arrangement, and s Buon a rroto aying also, tells me that you live w t t i h grea economy, or rather penury economy is

is good, but penury is bad, because it a vice dis

of pleasing to God, and to the people this world, ” a n d , besides, will do harm both to soul and body . He concluded his garrulous letter by again urging A his son to return to Florence . ngelo had taken

P di n into his studio only the youth iero Gian etto , f f L who loved him and was very aith ul . iving thus

f- l own in sel denia and rigid economy, neglecting his f personal com ort and health, the generous artist f f continued to aid his un ortunate amily.

A un I 0 1 ngelo ret r ed to Florence in 5 , bearing back to the scene of his ﬁrst triumphs the aug me n te d prestige of his four years o f Roman e x pe

S on ricuce . Three years had passed since av arola

o of had been burnt at the stake, and the mem ry his holy death was still in every heart . Cardinal Piccolomini (who a fterwards became

O e of P . t P p , under the name ius III ) con racted with A n gelo for the making of ﬁfteen statues of

C f f t for arrara marble, each about our ee high, the al tar of the Piccolomini Chapel in the Cathedral

2 8 M I H A E C L A N GE L O.

D A tta va n te Ghirla n cluding ella Robbia, , Roselli,

Il C n a L l Gra n a c c i a n . dajo , ro ac , ippi, Botticel i, , S

Da V P n gallo, inci, and erugi o, decided that it

’ ‘ should oc upy th e place of Don a te llo s Judith and

’ I I lofe r n e s P l o S n . o , in the iazza de la ig oria It t ok f rt f ar e i o y men our days to drag the m bl g ant 3.

of i fr th e di quarter a m le, om stu o to its place,

w d - N during hich rioters attacke it with stones . O

f a e n 1 2 n r injury be ell the st tu u til 5 7, whe its a m wa s broken off by a missile thrown from the Pa V l . In 1 8 lazzo ecchio , during a popular tumu t 73

wa s r A of n A in it emoved to the cademy Fi e rts,

th e of St. r oa old Monastery Ma k, by a railr d built for the purpose .

s The young Hebrew hero is repre ented as naked, w t a fu li s ar f in i h beauti l, p ant, and mu cul orm , the

a P li moment when he att cks the hi stine Goliath,

“ u of proclaiming, I come nto thee in the name ” t f l th e Lord of Hos s . The ace is ﬁ led with a n

of w expression inﬂexible courage , and is cro ned

of n n i by a mass ta gled locks ; and the te se l mbs,

a ll t m n m rve ous in heir anato ical precision, are erved i t t for th e com ng con es .

A 1 0 A m w In pril, 5 3 , ngelo ade a contract ith the

f of C th of n e o ﬁcers the a edral Flore ce, to carv 2 A SSIS TA N TS . 9

a t of th e tw A t l« coloss l s atues elve pos les, being a

tw for w t ar Of lowed elve years the ork, wi h a sal y

1 0 of th e $ a month, besides the cost marble,

n C of f his jour eys to arrara, and the living himsel

w t and an assistant . He was provided i h a house a n d P t s workshops in the Borgo in i , de igned by

for t Cronaca the purpose, and erec ed at the cost

t t fr al of the Cathedral au hori ies . The ug priests

t thought hat they had secured a good bargain , but the ar tist was so discouraged by his meagre stipend

t of f that he a tempted only one the statues, that o

- d f f ﬁn ish e d . t. w a n S Matthe , le t it hal This is now

in n A of preserved the Florenti e cademy, one the first of that long series of unfinished and undefined works which the impetuous and variable sculptor f i le t behind h m. It has been commonly believe d that An gelo labored in solitude ; but this idea is

for n l h a erroneous, he certai y d assistants at various

ar for of times, and ranged the employment numer im of . wa s ous sculptors, on some his works It possible for his hands alone to keep pace with his t a n d o l ll for the eeming brain, it w u d have been we a rt of Ital y if his irascible a n d un even temper had f n ot prevented the formation of a gr a s p o trusty

1 0 1 1 0 a n d efﬁcient assistants . Between 5 and 5 4 0 I 3 M CH A E L A N GE L O. alone he had commission s for thirty- seven statues a n d f fa r s relie s, a number exceeding his utmo t capacity, diligent though he was . The Madonna and Child n ow in the Notre Dame Church at Bruges was one of the best of

’ A a r for its ngelo s e lier works, and is distinguished

f for admirable drapery and per ect hands, as well as the sweet expression and queenly gravity of the

’ V f s u of irgin s ace, and the ea y and pleasing attit de C ’ D . the ivine hild, standing at the mother s knee It was presented to the church at Bruges by Flem

o f Mosc ron f wa s ish merchants the amily, and seen

Du I 2 1 there by A lbert rer in 5 .

In 1 5 04 the Florentine Government commis sion e d its n ow favorite sculpto r to model a

of D statue avid , which was to be cast in bronze, a n d sent as a present from the Republic to a f f friendly O ﬁcial o the French cour t. The records

“ Of 1 0 8 D of 5 say, The avid in the name God is packed and sent as fa r as the port of Sigma and f n ow rom thence it was shipped to France , and is

A ﬁn lost . bout this time, also, the master partly ish e d two f circular relie s in marble, representing V C . On e of the irgin and hild these, presented by a n ecclesiastic of the Pitti family to Luigi Guic

2 M I H 3 C A E L A N GE L O.

“ his f to ar of a 1 w li e painting, a dep tment in hich f A he himsel had done almost nothing, ngelo boldly

c ommi ssmn accepted the , and dared the inevitable comparison . He chose for his subject a n episode of P of the war with isa, when a company Floren

th e A tine soldiers, bathing in River rno , were warn ed of the approach of the enemy under Sir W t John Hawkwood . hile the rumpet was sound

al ing the arm, the scattered soldiers were dashing

of out the water, and helping each other up the

d n a n d steep banks, and others were hastily ressi g

’ in ar - putt g on their armor. The tist s pre eminent skill in portraying the human form doubtless led

f for him to select this theme, as avorable a display of f for his chie excellence, and insured it a suc

e ful in c ss treatment . He was provided with a hall

’ f a n d the Dyers Hospital at St. Ono rio ﬁnished

ft h f in 1 0 6 . the cartoon a er his ﬂig t rom Rome, 5

two r n ot The g eat artists were on good terms, and the younger treated his rival with severe dis c ourtesy.

L ar f fr of eon do, resh om his ten years honorable

‘ v n t Th e L ser ice at Mila , where he had pain ed ast

’ S t w t r upper, engaged in this contes i h g eat earnest

t of a t n ess . He illus rated a rencontre cavalry the

TH E CA R TOONS . 33 b of A n a t attle ghi ri , where the Floren ines had de feated the Milanese in 1 440 3 and partly executed it in an attempt a t the revival of th e ancient e n

t t t caus ic pain ing, which caused it to perish wi hin

ft N t of w wa s ﬁ y years . ei her these great orks ever

in s ﬁnished the Municipal Hall, and, the cartoon

t f r e min is having disappeared, only unsa is actory

of cences them remain to our days .

“ Benvenuto Cellini said that While the se car toons thus hung opposite to each other [in the

P f of Medici alace], they ormed the school the ” A Sa world . Raphael, ndrea del rto , Baccio Ban

S P V t re dinelli, ansovino, erino del aga, and o her n own e d t t f artis s made s udies rom them, and were ﬁlled with admiration for these culminating glories D f of Tuscan ar t. uring the revolution o

th e when Medici were recalled, some one entered

’ th e A n hall where ngelo s cartoo was hung, and cut

to a n d V l i it pieces asari says that Baccio Bandine l , th e foe of th e t t th e r of deadly ar is , was pe petrator ut . S t f the o rage ix y years later, several ragments of this great work were in the hands of th e Strozzi f of disa amily, Mantua, but they have long since p

e a r p e d .

E 1 0 A o d arly in the year 5 5 , ngel was summone 34 MI CH A E L A N GE L O.

P to e . wh o Rom by ope Julius II , that noble prince wa s at once valia nt in war a n d most liberal in his f l N patronage o iterature and the arts . othing but

ff of the magniﬁcent o ers such a patron, and the f w of f in ascinating po er Rome itsel , could have duc e d the ma ster to leave a city which was then the great centre of the arts and the home of their h f admirers, and where he imsel was overwhelmed w u ith lucrative and honorable commissions . Juli s a n d An o of r gel were men similar cha acter, proud

an f n n and arrog t, energetic and wil ul, yet mag a i

al mous, honest, and resolute . They were continu ly

h hn d distrusting each ot er and quarrelling, yet as often sought and obtained reconciliation by mean s of f f ar ree and rank concessions, holding tow ds each

o other a profound esteem and a rugged sort f love . A n gelo was the only man who ventur ed to contro

ar al vert the m ti prelate and, although his opposi

al tion was almost ways overborne, he submitted un der protest .

’ P c ommissmn his The ope s ﬁrst to sculptor, and one which involved him in countless embarrass

n for f ar for a ments and a xieties over orty ye s, was

n in i f d gra d mausoleum, which Julius h msel shoul

of be placed after death . The plans this monu

6 3 MI CH A E L A N GE L 0.

Julius commanded the destruction of the " ancient b l of - asi ica, with its monuments eighty seven popes, that on the desert thus made he might rear his own proud mausoleum and it was a just retr ibution that such vandalism was punished by ultimate mor tiﬁc i n a t o .

In A pril A ngelo journeyed to the mar ble-qua rries

C n for at arrara, where he remai ed eight months, selecting blocks of stone ﬁt for his new works at

an d w Rome, having them he n into shape . He also made an abortive design for convertin g one of the rocky peaks of the Carrara range into a colos

u n fa r sal ﬁg re, to be visible by mari ers out at sea . During this sojourn he was attended by two ser

of . f m vants, and kept a pair horses He went ro

La n the quarries to vag a, a port on the Genoese

v f in Ri iera, and reighted his marble thence by sea, vessels which bore it up the Tiber to Rome .

n f C r ft n Retur ing rom arra a to Florence, a er remai A ing there a short time, ngelo pursued his journey

r to Rome . The marble was placed in the squa e t P ’ i S . beh nd eter s, and appeared to the people enough to build a temple, rather than a tomb . The sculptor was domiciled in a house between the va t A C of S . tican and the astle ngelo, near the TI A N Q UE S . 3 7 cox-e red way which connects th e palace and th e fortress ; a n d the Pope had a bridge built thence

s f t to th e studio . By this mean he requen ly visite d

’ of A s t th e r the scene ngelo labors, and reated a tist

f i f t to as a am liar riend, perhaps not al ogether his

w f w t taste, since he al ays pre erred to work i hout

u s s pervi ion .

The ancient statue of the Dying Gladiator wa s

of S its discovered in the Gardens allust, and missing t right arm was restored by A n gelo . The celebra ed

of La oc o On f 1 0 6 group the was ound in 5 , near the

of M on torsol Baths Titus, and repaired by , one

’ of A th e ft ngelo s pupils, who also made le hand of A l P the pol o Belvedere, discovered near orto

’ d A n z io 1 0 . D P th e , in 5 3 ella orta also restored

of l f missing legs the Farnese Hercu es, ound in the

f ai A Baths o Caracalla . It is s d that ngelo added

of L o S some the lost parts to the aoco n, the atyr,

for and other mutilated antiques, but there is room d oubt as to the accuracy of this state men t. 8 3 M I CH A E L A N GE L O.

A CH PTE R III.

’ A n ela s li h t Th Re n ili ti — ulius I ’ F e co c a on . I s S tu g g . J . ta e a t

B olo n a . Th e F r e scos in th e Sistin e Ch a l g p e .

SUDDE NL th e n of P Y demea or the ope altered, a n d t A he ceased his in imacy with ngelo, and

V an a ai him V s closed the atic g nst . asari ays that

n wa s of n Brama te the cause the cha ge, having be en aroused to jealousy by th e success and the

i of - w f v gilant scrutiny the new comer, here ore he told the Pope that it was a n evil augury to build

f - o his monument in his li e time . He als advised Julius to employ A n gelo to paint the ceiling of the

S C in t at o fa istine hapel, believ g h he w uld il disas ul tro s y.

A n on f a c gry at his exclusi rom the pal e, and at th e - f o ill treatment which he met rom his patr n,

A n ﬂe e ngelo determined to abando Julius, and to

ai for i to Florence . He p d the sailors the last sh p m of C ar f own ent arr a marble, rom his purse, and left orders to sell to the Jews all th e furniture of . “ is P a e W n h house . He told the ap l courti rs, he

0 4 M I CH A E L A N GE L 0. ha r if n to e m he should retur , and engaging advanc f d A money as ast as it was neede . ngelo answer ed

t ri v n promptly, recapitula ing his g e ances, and stati g that he had been informed that his own sepulchre

’ f th e Pe A w d b . ould be ma e e ore pe s nother letter,

w f s A ho ever, rom Ro elli, came to trouble ngelo , by

w h ow sho ing active his enemies were . It reads

“ t : W t n fo hus ear as a bro her, I have to i rm thee S P that on aturday evening the op e, being at supper, summoned Bramante, and said to him

‘ S - angallo goes to morrow to Florence, and will bring back~ Michael A n gelo Bramante replied

‘ P : to the ope, and said Holy Father, he will not

for w A come, I am intimate ith Michael ngelo, and he has said repeatedly to me that he did not wish

s to attend to the chapel, and that you wi hed to give him this charge and that nevertheless he did w not wish to serve you, unless ith the sepulchre,

’ A n d and not in painting . he also added : Holy

t for Father, I believe hat he has not the courage, he has not done much in ﬁgures, and especially u f w ﬁg res that are high and oreshortened, hich is

’ a f th e r nother thing rom painting on g ound . Then

‘ P w : If the ope ans ered and said he comes not, he for w . does me wrong, I believe that he ill cer A TURKI SH IN VI TA TI ON 4 1

’ A t ta in ly return . that moment I advanced and t P gave Bramante a sound bera ing, the ope being present ; and said that which I believe you would

‘ have said f . r me ; yet he did not kn ow how to

to t n answer, and seemed hi k he had spoken badly .

A n d t I told him, also Holy Fa her, he never spoke A t t w to Michael ngelo, and as to ha hich he has n ow if it t c ut Off said, be rue , you may my head, for he never spoke to Michael A ngelo ; and I believe that he will surely return when Your Holi

’ ”

A n d . ness wishes . here the matter ended

W a t A hile Florence, ngelo was invited by the

u S Ba a z e t . T rkish ultan, j II , to enter his service, and

u th e to b ild a bridge across Golden Horn , between t P S Constan inople and era . The ultan sent a large

Of ff of letter credit, and o ered him an escort janis sa rie s through the Turkish dominions . Though Sode rin i told him that he would make a better “ w P t choice to die, siding ith the ope , han to live , ” as th e T f p sing over to urk, he ully intended to ﬂy to the Moslems if Florence should turn him out .

1 0 6 C a to a f In May, 5 , he went to arr ra, look ter the marble which he had selected for th e ma us o

of wa s leum . The remainder his time at Florence s t Dur pen in working on the un ﬁnished cartoon . 2 MI H A L A 4 C E N GE L O .

- in t n u . f de d n e w g his spri g time, Juli s II oun the

’

St. P t C a t n e er s hurch, Rome , in whose constructio

ft w s the master a er ard bore so prominent a part. Th e Pope not only employed the good ofﬁces of f d l rien s to recall his recalcitrant scu ptor, but also

e ' f o n e s nt three brie s to the Florentine G ver m nt, f demanding that he should be orced to return,

f d rin i of if as . So e persu ion ailed , the head the

f t t Republic , el a cer ain danger attending the neg l of a of - ect the mand tes so warlike a prince prelate, and said to A ngelo : Thou hast tried an e x pe ri ment with th e Pope which the King of France

n o t for would have ventured on , but the time

i We w l him en treaty s past . i l not go to war with

ur S a so on thy acco t, nor expose our t te to risk ; f ” prepare thysel to return .

’ ’ A n a t of ffe of Il s gel s estima e the e ct Julius . government in Ro me is seen in one of his sonnets

H e r e h e lms a n d s words a r e ma de of ch a lice s

Th e b l ood of Chr is t is s old s o much th e qua rt H is c r oss a n d th or n s a r e s p e a rs a n d shie l ds ; a n d s h ort

Mus t b e th e time e r e e ve n H is p a tie n ce ce a s e .

But of th a t b e tte r life wh a t h op e h a ve we

Wh e n th e b l e s t b a n n e r le a ds to n ough t b ut ii

44 M I CH A E L A N GE L O.

fal Sode rin i C al Gon oniere to his brother, the ardin

“ of V : olterra, in which it is said The bearer is A Michael ngelo , sculptor, who is sent to please and f W f a t L . e s is y His Holiness, our ord certi y to you

he in that is an excellent young man , and his pro fe ssion t W unequalled in I aly, perhaps in the hole

W t . world . e cannot too earnes ly commend him

of t t if He is such a disposi ion tha , he is kindly bespoken and well treated, he will do every thing . f him ff f It is need ul to show a ection and avor, and he in return will do works which will astonish a ll

A o who see them . The said Michael ngel pro ” c e e ds of f upon the pledge our aith .

’ A ar n ngelo s ﬁrst care, upon riving at Bolog a, was u to C of St. P attend mass at the hurch etroni s,

wa s n P where he recog ized by the apal grooms,

t and persuaded to wai immediately upon the Pope .

wa s b ut Julius at table, , ordering that the visitor

b e w should brought in, said to him, ith austere “ o r c u tesy, Thou hast come to seek us and thou t A didst expect hat we should seek thee . ngelo k nelt, and craved pardon , saying that he had ﬂed,

f o f not rom malignity, but in the passi n which he elt W at being expelled from the Papal presence . hile

P n n the ope sat sile t and a gry, the bishop whom S TA T E 0F 2 1 U 7 0 019 I] . 45

Cardinal Sode rin i had sent - to intercede for th e “ sculptor exclaimed, Your Holiness, do not con f t r a . sider his aul , because he erred through igno nce ” P al of ainters are ways so, outside their art Whereupon the Pope poured out his pent-up wr a t

’ “ th e in sulte st on intercessor s head, saying, Thou

o . f him , which we have not d ne Thou thysel art

th e n ot . ignorant and the rascally one, and he ” f t fﬁ Leave our presence . The un ortuna e o cial wa s t P ff driven out, wi h blows, and the onti received

A f n r r e ngelo to his avor agai , and desi ed him to ma in i n . \ Bologna Soon afterwards Julius commissioned him to

of f f f make a bronze statue himsel , ourteen eet high,

f th e P i C of St. to be placed be ore hurch etron us,

for i im saying that he would pay it l berally . He

of Pa va lion e mediately set to work, in the hall the g ,

e the b hind church, where he welcomed several

t f fe visi s rom his great patron . His li in Bologna

for w was not luxurious, he rented a retched room

for f to live in, and had but one bed himsel and his

t n ot three Florentine assis ants . He could receive

Giova n S wh o ft w to his brother imone , o en ished

t f u t of visi him, but wrote home req ently, elling his

t f labors, and taking a lively in erest in the amily affairs . 46 M I CHA E L AN GELO

The work on the sta tue advan ced so rapidly that the clay model was ready before the Pope left for

m wa s Ro e, and inspected by him . Being asked if

o its f th Pon a book sh uld be placed in le t hand, e ff “ W ? — ti said, hat book Rather a sword I am n o reader . He then questioned as to whether d the right hand was raise to bless or to curse , and

- It the quick witted sculptor answered, menaces ” h if a r e n ot t is people, Holy Father, they prudent . The French King was n ow marching across the

A th e lps against the Genoese communists, and

P of n wa s un ope, alleging that the air Bolog a

to n ot fo healthy, hastened Rome, though be re he

i m - of f b had la d the co er stone a ortress, hard ythe

a in i m o n in a Ferr ra Gate, wh ch he had ore j y tha w n e church . Wagon -loads of clay had been heaped up in the

a n d out of f l studio , the lo ty mass the scu ptor

wa x u . mo lded the statue, which was then cast in

n of of - A Being ig orant the art bronze casting, ngelo s f ummoned the master Bernardino rom Florence, wh o n f t bega his work in June, but ailed on accoun

f t in o n o hav g provided enough metal, so that the

l th e o mould a molten mass only ﬁl ed up to the w ist, a n d the statue was ﬁnished by casting from above .

8 MI CH A E L G 4 A N E L O.

n a A n ot Bolog while ngelo was there , but it is

n know that the two great artists met .

E 1 0 8 A n t a arly in March, 5 , gelo re urned to Flor

for ence, and leased a year the house in the Borgo P i C t fﬁ f inti , wh ch the a hedral o cials had ormerly

for t built his use, designing to remain in the ci y,

f a n d to assist his amily, to ﬁnish the works which f he had previously le t incomplete . He dreaded the malaria of Rome n c t less than its riva lries and

al n an i e m ig t hostilities, and w shed to s ttle perma l P n e n t y in his own city . But the ope summoned him V a n o a n d to the atic within three m nths, he

n ew sadly broke up the establishment, and bade farewell to his people . On arriving in Rome he was informed that his allotted task was to paint th e ceiling of the Sistine

C th e of hapel, scheme the sepulchral monument i A f hav ng been laid aside . ngelo altered at under ak r a t ing so g eat work in painting, an art in which h e th e had but little practice, and recommended

P r th e ope to choose Raphael, who had a rived in

t o f ci y at about the same time, under the auspices

t Bramante . Julius vehemen ly insisted that his Flor e n tin e client should execute the Sistine paintings ; an d f e n s P e he there or relucta tly con ented, the op TH E S IS TH VE CH A P E L . 49 agreeing to pay him ducats to paint the t A o th e u tt t welve p stles in l ne es, wi h ornamental w h t t A ft w ork in t e compar men s . er ards th e artist

d te d to t c f bol ly objec hat mode decoration , and his patron told him to do as he p leas ed in th e

f th e d matter o esigns .

P t t to The apal archi ec , Bramante , was chosen construct th e scaffold fr : m which the frescoing was to e ut wo in e ﬂi c ie n t be don , but exec ed his rk in an

f w t in and per unctory manner, i hout consult g the

t wi ar ist or allo ng him to make any changes in it.

’ A ngelo therefore secured th e Pope s permission to

n e w t build a s aging, which he completed with i t f great sk ll and rapidi y, making a plat orm like a

’ i 1 0 f t f i sh p s deck, 3 ee long and 45 eet w de , and t 5 0 feet above the pavemen . Upon this were movable s caffolds for reaching the curved vaulting

a tf bo th e overhead ; and , since the pl orm was a ve to s of of th e f p the windows, parts looring were

for t arranged easy removal, in order to admit ligh , a s well a s to allow th e artist to survey his work from th e t w pavemen belo .

O n th e r oth of t b e n May, the grea master ga to

r wa s prepare his designs fo the frescos . He

u us o f f - ai d bio his ability to execute resco p nting, 0 MI H A A G 5 C EL N E L 0 .

so at least on grand a scale , and summoned to his

Gra n a c c i f of r aid , the riend his boyhood, and othe

f lor e n tin e s s . S kil ul F By eptember, these assistants w f w f th e ere ully at ork, trans erring and coloring designs from the master ’ s chalk cartoons on the

- chapel vaulting, which he had previously marked off f Wi r in con ormity th its a chitectural divisions, t f with inﬁni e pains and accuracy . But the allacy of e for this xperiment was soon proved, the assist ants fell far short of th e inspiration which wa s f need ul, and their coloring, timidly executed and w f in an outgro n manner, ailed to harmonize with f the ideas of the master . He there ore sent them

w f tu a ay, and, obliterating their eeble pic res, set to work on the great task almost unai ded ; and

f for n tc ile d therea ter many mo ths on, in the

w f a n d gloomy space bet een the plat orm the ceiling, “ f ” E living like E lijah in the cave c Carmel . ver

o w t - wn thus engaged , l cking up ard, wi h back thro

wa s in head and straining eyes, his vision so jur ed that for a long period he could read only by holding th e page above his head . His custom was to make th e ﬁrst draught in red f l or black chalk, on a very small scale, and to ol ow that by elaborating th e idea in a dra wmg from a

2 I L 5 M CH A E A N GE L O. the greater part of the four years between the b e ginning of the work a n d the end of the year I 5 1 2 He had not worked long before an incrustation

f of f like mould appeared on the sur ace the rescos .

P th e ar Hurrying to the ope in despair, tist ex

I I wa s f - w claimed, told you no resco painter hat ” l I have done is ruined . Sangal o was sent to the t A chapel, and consoled the per urbed ngelo by w t t sho ing that the damage was ransi ory, and would disappear when the plaster dried . The Pope had a f ladder built. by which he himsel could visit the

tf f ob pla orm easily, and he requently ascended to s f erve the progress o the work . This was not quite f pleasing to the artist, who pre erred to work in i l absolute solitude, since the task wh ch was a lotted to his brain alone was so gr eat that he did not

a n a wish y outside distr actions . The ch pel was kept closed against the outer world, except in the

f of s f brie exposition the ﬁrst ﬁni hed hal , when

t th e A n e le s ue Raphael was present, and caugh g q m P anner, to reproduce it admirably in his rophets and Sibyls at Santa Maria della Pace . While the drawing of the Sistine frescos wa s v f o n th e sc ft igorous and orcible , the c lori g was in

T n n n i scul tur ~ usca ma er, qu et, monumental, and p I TH E SIS T N E CH A P E L . 5 3

ts of e sque . The nude par the ﬁgures are highly

ﬁ s th e d is t a f : n i hed , but rapery laid in wi h ree hand ; though th e delicate perfection of th e whole w is fa r t th it to ork grea er an needed have been , con sidering th e distance a t which it is elevated f th e P w s t th e f rom ﬂoor . The ope i hed hat rescos should be enriched with bright colors and gold ;

’ q ut A t th e s ngelo replied, dryly, hat saint whom he h a d i t d s h pa n e were poor men, despi ing ric es, and did n ot N t d wear gold . ever heless he adde much

th e t gilding to decora ive parts, extensively retouched th e ﬁ u - g res with size colors, and planned to enrich th e skies with ultramarine (although if th e latter w s a s r of it . ever done , no t ace remain )

’ On All S i t Da I 0 w of A a n s y, 5 9, the ork ngelo wa s t ﬁ s a n d ff wa s r e par ly ni hed, the sca olding

t t P moved in order ha the ope might see it . The completion of the great enterprise wa s reached

t 1 1 2 probably la e in 5 , and the chapel was ﬁrst

d t h e o t 1 1 . opene public in March, 5 3

The Sistine Chapel is 1 3 1 % feet long and about

f t w th e l d n 44 ee ide, and side wa ls are ivided i to t t t d v d hree longi udinal sec ions, which are sub i i ed

t w t wa s by painted pilas ers . The lo er sec ion colored to of t of a n d o f s represent hangings clo h gold ilver, M I H A 54 C E L A N GE L O.

w f V o S I . e n embroidered ith the arms ixtus , wh reo ’ f Raphael s tapestries were hung on estival days .

The second section contains frescos of scriptural

S n hi s subjects, by ig orelli , G rlandajo , Ro elli, Botti P celli, and erugino . The third section is cut by

- w six round headed indows on each side, between

ar e f of tw — which rescoed portraits enty eight popes,

’ i for A by Sandro Botticelli . The space g ven ngelo s

ar f genius to enrich covered about squ e eet, including the arched roof and the pointed arches

ar e f w and lunettes at its sides . There no e er than

-fr 343 ﬁgures in the ceiling escos, varying in pro portions from the colossal prophets to the graceful

- n al l of fu boy a gels who uphold the cornices, them ll of f i li e and thought, and mark ng the consummate ﬂower of an exhaustless inspiration in the glorious

f r epic o Ch istian redemption . The central idea of this vast conception is the

e of for th e A of C pr paration the world dvent hrist, in a gr and succession of portrayals of th e typical

- d events in Old Testament history . These are ju i c iousl b d u f w y com ine by an architect ral rame ork ,

n l e ivened by numerous accessory ﬁgures, medal

a n d a t a r e c ia lions, other ornaments, and separ ed pp

l f - i of r - b b y aun l ke nude ﬁgures, da k toned colors,

6 M I H A 5 C AEL N GE L 0 .

i r a ments having been llust ated in the central sp ce,

A ngelo proceeded to show forth the promised r e

ﬁn e of ‘ demption, in the long maj estic and contem

la tive P S tt hr p rophets and ibyls, si ing on t ones, and

tt a ended by angels, and ﬁlled with all the antique

ri tu spi t of the Scrip res . These imposin g ﬁgures f if would be eighteen eet high, they stood erect ; and their massive forms and eager faces ar e ﬁlled

t with the intensest absorp ion , the most ravishing t expecta ion .

In th e lower part of the vaulting are the Pro ph

E i Da n ets Jeremiah, zek el , Joel, Zachariah, Isaiah,

n ro h iel, and Jonah, alternati g with the ancient p p e te sse s P E a D C a , the ersian, rythr ean, elphian, um ean , and Libyan Sibyls . In the pointed arches and

’ lun ettes of the vaulting are the ancestors of Christ s

f f A h ra h a m St. o r e re putative ather rom to J seph, p w sented sometimes ith great obscurity, and else

In f where by pleasing family groups . the our

fr of S t corner arches are escos the Brazen erpen ,

D t of t H olofe me s the ea h Haman, Judi h and , and

D t avid and Golia h . The ﬁrst impression produced on one who e n ters the Sistine Chapel is that of a vast and hope

s f of n s id les con usion designs and painti g , am TH E SIS TIN E CH A P E L . 5 7 which gigantic ﬁgures appear along all th e mighty

t t w t vaul , apparen ly i hout order or method . They a r e n t f early seven y eet overhead, and can only be

f tt t w seen by assuming a pain ul a i ude , hich com bines with th e maltreatment they have suffered during a third of a millennium to detract from their

t t th e u O t in eres to cas al visitor . bscured by dus ,

of of - clouds cobwebs, and the smoke altar candles,

- t conclave ballots, and incense, hey have acquired a l ow tone which is almost the reverse of the rich coloring with which they once stood out in bold f d relie on the white marbleize ceiling . The plas

wa s tering unevenly laid, on an unstable brick arch,

of f and has cracked all over , and parts it have allen down (especially when th e powder- magazine at

Ca St. A th e stle ngelo exploded, in and c olors have been ruined in many places by barbar

Cl a n n w ous e i g, when ordinary laborers have ashed the pictur es with sponges ﬁll ed with a cau stic solu tion . The enemies who had urged the Pope to have

A S t C th e ngelo decorate the is ine hapel, in hope that he would fail so signally as to be relegated to

st s d s la ing disgrace, were a toun ed and di mayed at

u wa s a te a s i s . his tr umphant s cce s He not a p in r , 8 5 M I CH A E L A N GE L O.

fr he ankly stated in advance, and had made but two r c or th ee pictures in all his previous a tive life . But when he was forced to undertake this great

of f work rescoing, he resolved to surpass all who had preceded him, and concentrated the powers of t his migh y intellect to insure success . Mani f of t esting a heroic contempt c all limi ations, he followed only the lofty lyrics of his Own fruitful

f f- inspiration , and with a earless sel reliance passed beyond the tr aditions of the academic artists of

. s f his day It was his ﬁr t resco , but he showed no

n of x sig s ine perience, and its technical execution

“ of appears perfect . Kugler says that The ceiling the Sistine Chapel contains the most perfect works l f done by Michael A ngelo in his long and active i e .

r Here his great spirit appea s in its noblest dignity, in its highest purity ; here the attention is not disturbed by that arbitrary display to which his great power not un frequently seduced him in other w k or s .

6 0 M I H A E L C A N GE L O.

of S C ft r to paint the remainder the istine hapel, a e

A n gelo had ﬁnished the ﬁrst half ; but the wronged artist made an impetuous appeal to th e Pope him

f in th e f sel , presence Bramante, and reported the misdeeds of the latter during the demolition o f t P ’ S . eter s Church .

“ Raphael thanked God that he had been born A in the same century as ngelo , but the less gene

A A ll e of rous ngelo said that that Rapha l has art, ” h P ’ he has from me . T e ope s remark to Se b a sti ano del Piombo helps to harmonize these state “ : Se e of ments the work Raphael, who, as soon

sa w of A n as he the pictures Michael gelo , suddenly

of P abandoned the manner erugino , and approached f A as near as he could to that o Michael ngelo . A w But he [ ngelo] is terrible, as you kno , and no ” one can manage him .

’ A in S mid his great works the istine, the master s mind wa s continually disturbed by the dissensions occurring in his family. He proposed to remove

f Giova n S his beneﬁts rom the roistering imone, and to transfer them to Sigismondo and advised his f to t ather to let his rural villa, and live like a gen le

of f man . He truly states the grand object his sel d d enials and grinding economies, in a letter ﬁlle — S E LF D E NIA L5 . 6 I

wit w i h noble anger and sorro , where n he reproves his Giova n S scapegrace younger brother, imone,

“ : If saying you will take care to do well, and to f t w honor and revere your a her, I ill aid you like the

t w soon o hers, and ill establish you in a good shop .

I have gone a bout thr oughout all Ita ly for

’ din f a ll twelve years, lea g a dog s li e bearing man ner of insults ; enduring all sorts of drudg ery ; lacerating my body with many toils placing my l i fe

f on itsel under a thousand perils, solely to aid family ; and n ow that I have commenced to ra is e it t wish e st to w h up a lit le, thou alone do that hic shall confound and ruin in an hour e very thing tha t I have done in so many years and with so ma m: f ” atigues .

In a letter to his father the weary artist said : I stand here in intense anxiety, and with the greatest f u of fri of atig e body, and I have no ends any sort, n or do I wish any and I have not time enough to

f Le t n o eat what is .need ul . more annoyances be ”

for . added to me, I cannot bear another ounce

“ i n the summer of 1 5 0 8 he wr ote I am sick at

a ill f he rt, , and worn out with atigue, helpless and ” “ A w : penniless . year later, he rote again The Pope h as not given me a groat for a year ; and I 6 2 M I H A C E L A N GE L O. do as k for for f r not it, I eel that I have not me ited

a d i of it, n this because pa nting is not the sort work

h f A n d w ich is my pro ession . yet I waste my time without fruits — God help me !” During this

of r e period despair he wrote a scathing sonnet, proa c hin g Julius with having pitilessly robbed him f f o . S 1 0 his toil rom his youth up In eptember, 5 9, he sent 3 5 0 ducats 6f gold to be secretly deposited

: of f a c in the hands a Florentine o ﬁcial, to his f f count in orming his ather, who was about to lose a n t w annoying lawsuit, that he was at liber y to dra

o for fu upon this dep sit nds, and adding, with t “ t ﬁlial pie y, I should ra her have you, alive and poor, than , you being dead, to possess all the gold ” w ff w t of the orld . Su ering i h ill health as the master was, he longed to go to Florence and rest for was a time, but prevented by the impatience of the Pope and the necessity of watching th e ’ D intr igues of Bramante s partisans . uring the win ter he secur ed many days for deliberation and

th e of repose, when physical conditions the cli mate rendered it impossible to proceed with the

A ft t of fr escoin g . er his ex raordinary bursts pro

to longed and intense labor, he was accustomed

for w f rest some eeks, reading his avorite authors,

6 I 4 M CH A E L A N GE L O.

a n a n d f or ud p i ter, gave orders that the plat m sho l

e b taken d own . In the mean time the Pope had excommunicate’d t St t the Floren ine a e, because it persisted in its alli E ance with France, and the mperor had pledged f himself to restore the Medici amily to power. The Spanish Viceroy marched into the city with a

- x r e - t large army, and the long e iled Medici en ered

of his t its gates under the protection ba talions, and

of established their government upon the ruins the . A l f Republic . ngelo counse led his amily to keep

of t f out the contest on ei her side, and urnished them freely with his hard - ea rned money to meet

n e w n the imposts, usi g also his inﬂuence with the

Medici in their favor . In remitting these things to

“ f t a : If his ather, he adds the pathe ic rem rk you are not to share in the honors of this world like o ther citizens, it is enough to have bread, and to w C live ell with hrist and poorly, as I do here , and

for i f live miserably, and care nothing l e and honor,

of that is the world, and abide amid the greatest i fatigues and with a thousand m strusts .

1 P E 1 . wa s arly in 5 3 , ope Julius II died, and

’ Ca of succeeded by rdinal de Medici Florence, who h s m th e t of Le o X. in t e as u ed itle , and cont ued H E L H 6 T E S P U C E E . 5 mun iﬁce n t patr onage of art and letters which h a d been inaugurated by his predecessor. He was not

’ n of A n e only a tow sman g lo s, but had also been a f - t ellow pupil, while the la ter lived in the Medici

r of P Palace under the inst uction olitian . The completion of the works on the Sistine Chapel left

A n f t gelo ree to re urn to his prior engagement, f f i that o erecting the mausoleum o Jul us II . The late Pontiff had left directions for the execution of

of the monument, on a smaller scale than that the L P ﬁrst design and his executors, orenzo ucci and

Car A in e n se n e w t w A n dinal g , made a con ract ith

for w f gelo a sepulchral chapel, ith outer plat orms t f w f and pedes als, and no e er than orty statues,

f t s some o which were o be colo sal . The sculptor

’ l t th e C estab ished a new s udio in Macello de orvi , and set his assistants to work on th e facade of the

t t C of monument, which hey erec ed in the hurch V f w t P . S . eter in incoli He himsel engaged ith

th e of great energy upon carving the statues, one of which was that of Moses ; and received from th e t r r execu ors, du ing the next two years, ove

ta t r t ducats . He resumed this sk wi h g ea

n it w t r e luc ~ joy, as he had previously reli quished i h ta nce and believed that it would be his mas ter piece . 66 MI CH A E L A N GE L O .

E in I 1 A his own arly 5 5 , ngelo began to draw f f n on th e unds rom the ba ker at Florence, to carry

’ w of II . s ork Julius sepulchre, whose models were

n adva cing rapidly toward completion . The statues of the Waking and Sleeping Prisoners had already

ft war f been blocked out, and were a er ds care ully

of ﬁnished . These grand works art were too large for n the monument in its last and reduced desig ,

a r and e now in the Louvre . They were give n by A S f ngelo to Roberto trozzi, rom whom they passed to Francis and then to the Constable de Mont morency .

D r 1 P e uring his visit to Florence, in 5 5 , the op

Sa n Lo th e of f visited renzo, church his amily, and

of f Th e wept over the tomb his ather . ediﬁce was

’ “ C of built by osmo de Medici, the Father his

” ’ C r f Brun e ll e schi s n f ount y, rom desig s but its ront was left (as it 15 now) an unrelieved mass of black

Le o n rubble . determined to adorn this bla k wall

f vi h f with a magniﬁcent acade, and in ted the c ie

Italian architects to submit plans therefor . A mong

S Sa n those who competed were Raphael, angallo ,

’ n d A n olo e A sovi o, and Baccio g and Micha l ngelo

wa u a r A t also s s mmoned to prep e a design . l hough

e t t e a h had never s udied archi ecture, nor mad

68 MI CH A E L A N GE L O.

s f r But cha ing the copper o the ir castin g . the will of th e Pope overbore the interests of his prede

’ c e ssor s f of amily, and the desire the artist ; and

A of a n L ngelo was appointed architect S orenzo ,

Le o f agreeing to placate the Rovere amily, and to have the statues removed to Florence for the sculp tor to work on at intervals . This, however, was n ot A of done and ngelo, shedding tears vexation ,

a n d discharged his numerous assistants, closed his

1 1 6 . On of Roman studio the last day the year 5 ,

A C a f ngelo reached arr ra again , having le t Baccio

’ d A gn olo in Florence to make a model of the new

n f facade . O his way rom Rome he visited Flor ff f f ence ; but received a sore rebu rom his ather, wh o had so long lived on his generous bounty, yet

f of ﬂed rom the city when he heard his approach, and retired to Settignano . A P ’ ngelo wrote to the ope s agent, proposing to

“ make the front Of Sa n Lorenzo the masterpiece ” of of all Italy, in six years labor, the total cost to

o be ducats in g ld . In the mean time he was suffering from th e intrigues of his defeated

’ S D A n ol o C rivals, ansovino and g the arrarese ,

of o Se rr a ve z z a w jealous the w rks at , ere hostile to him ; the Medici were gr owing impatient ; and the IN TH M U 6 E O N TA INS . 9 unfortunate master wa s surrounded by dishonesty t f and dissimula ion . Hastening rom Florence to

P t u th e Rome , to isa, to Genoa, and hro gh grand

A ua n A wa s u pp lps, his precious time sq andered,

’ while th e mad carnival of Leo s semi - Pagan court w th e A th e Re for ent on at Rome, and beyond lps t P ma ion was beginning . In the meantime the ope wa s emptyin g th e tr easury of the Chur ch in the

Lo mbard war, and thus rendering his architectural

t plans imprac icable .

t of C A In the soli udes the arrara mountains, ngelo

r u t studied a chitect re with in ense assiduity, learning

of th e of the cost work and materials, and use

for machinery moving heavy masses, and prepar ing the blocks of marble ﬁt for various parts of the f of acade . The sculptor Florence had been con verted into a painter by the despotic will of Julius

of Le o II . , and now the no less peremptory orders

X. made him an architect . From Carrara A ngelo was ordered to go to

Pi t r e - e th e e rasanta, to op n the ancient quarries in

t of Se rra ve z z a w wa s adjacent moun ains , to hich he

t t s also to construct roads . He protes ed against hi

n t f th e w indig i y, and pro essed to believe that ne ly discovered marble was in ferior to that of Carrara ; 0 I H A L 7 M C E A N GE L 0. but P C ’ w the ope and ardinal de Medici rote to him, insisting that Salviati and other masters had praised th e Se rra ve z z a t th e me n marble , and intima ing that of Car rara had bribed him to discredit the new quarries . Le o ordered that no other mar ble than that of Se rra ve z z a should be used in the works at

’

St. P Sa n Lo C of 101 eter s, renzo , or the athedral F

— at ence being resolved , as a true Florentine, th his patrona ge should be given to the Tuscan quar f ries exclusively. But be ore these stones could be

on w - placed the plain , much work ith the pick axe

a ak r was necess ry, to m e a road th ough the moun

n A v as tai s, and ngelo was ordered to super ise this t k, and to replace the mounta in foot-paths with massive highways

1 1 v o to A In 5 9 he was in ited to g drianople, there to practise his profession among the Tur ks but he n ow i u stood too h gh in Italy, and was so ght by too

t in of r many cities, to allow him to h k expat iating himself. When the Florentine A ca demy petition ed Le o

for s o of D X. permis ion to bring back the b nes ante fr A n om Ravenna to Florence, ngelo sig ed the

a n A n paper, s yi g, I , the sculptor Michael gelo, ask t he o f u n ff n f ma k same Yo r Holi ess, o eri g mysel to e

72 M I CH A E L A N GE L O of I e w l ou Urbino is dead, which believ il cause y gr eat sorrow . May God pardon him .

’ Pal lavicini visited A ngelo s studio at Florence

sa w about this time , and several ﬁgures in process of being carved, among which were (probably) the four statues n ow in the gr otto of the Boboli Gar

for dens, works destined the Julian monument . A nother piece of sculpture of this period is n ow in N the Italian ational Museum, and shows a vigorous a n d n cruel youth crushing dow an old man, per haps in commemoration of his own sufferings at

z a A Se rra ve z . nother statue in the same Museum

A Se rra ve z z a a represents the dying donis, in m rble, a n d was probably one of the symbols of captur ed

v an n f w pro inces on the Juli monume t, a ter ards m f S l etamorphosed into the present orm . til anoth er n oble but unﬁnished work (of later date) here

of f preserved is the ideal bust Brutus, which is ull of n w w f a n d r f dig ity and po er, ith so t ﬂesh g ace ul

’ When Cardinal de Medici ordered Raphael to

‘ ’ n Th e n ur pai t Tra sﬁg ation , he also commissioned

‘ Sebastiano del Piombo to illustrate The Re surre c tion of A n gelo furn ished parts of th e

n for e r desig the latt , and it was thought that SE B A S TI A N O D E L PI OM B O . 73

Raphael would certainly be outdone when his

’ great rival s drawing was illuminated by Sebas

’ V t tia n o s rich ene ian coloring . But this result did

’ n ot f l S t o low, and ebas iano s picture was sent away

’ C of N h to the athedral arbonne, w ile Raphael s remained in Rome . Sebastiano continually poi

’ son e d A ngelo s mind against Raphael , calling him

e w a n d l a J a robber, and ridicu ing his works while other Roman correspondents in similar ways slan f dered the painter o Urbino . Sebastiano was

’ An n aided by gelo s desig s in several other pictures,

Wi t S t among which were the Holy Family h ain s,

tw P s A n of i and o ieta . other joint work this k nd

‘ ’ wa s The Fla ge lla tion of Christ in the Roman

Church of Sa n Pietr o in Montorio .

On e A noble thing, at least, ngelo did in respect

f of to the memory o the deceased artist Urbino . Raphael had left th e great frescos of the Hall o f

C an d w onstantine unachieved, his pupils ere about

n to ﬁnish them f rom his desig s but Le o X . invited

A n f S ngelo to pai t the hall himsel , and ebastiano del Piombo urged him in several letters to accept

N ~ the commission . evertheless the great Floren f tine resisted all these solicitations, pre erring to

’ ’ allow Raphael s pupils to ﬁnish Raphael s designs. 74 M I CH A E L A N GE L O.

e P for n He ask d the ope permissio to visit Rome, but wa s refused ; and Sebastiano urged him to go in f wa s spite thereo , mysteriously hinting that he

ft C of Can needed there to look a er the astle ossa, whose own ership he might secure . You would

t obtain all hat you could wish, not castles but cities for I kn ow that the Pope holds you in much

a of it a s if account, and when he spe ks you is you w w ere a brother, and almost ith tears in his eyes ; for he has told me that you were brought up together ; and he shows that he kn ows and loves

f o you ; but you cause ear t every one, even to

Popes . There is doubtless much truth in these

f th e statements, and in the in erence that savage temper and haughty irascibility of the a rtist made it seem best to Le o to keep him away from the f spl e ndid and ceremonious court o Rome . In 1 5 1 9 Le o determined upon the erection of a new cha pel on the north side of the Medici

C of Sa n L for of hurch orenzo, the reception mon ume n ts to his well - beloved brother and nephew

l L t 1 2 0 C Giu iano and Lorenzo . a e in 5 ardinal de Medici invited A ngelo to make a design for this

n t th e structure, which desig was accep ed, and sculptor was ordered to begin the con struction.

6 I H A 7 M C E L A N GE L O .

D 1 2 1 Le o X. b ut In ecember, 5 , died, doubtless

t A a n d b little lamen ed by ngelo , was succeeded y

A of f f V o C ar . drian Utrecht, the ormer tutor h les ,

t f who was a rue bishop, in that he pre erred to

r f of C u devote his energies to the pu i ying the h rch, rather than to the nurture of art and a semi- pagan

D f on tiﬁc a te of literature . uring his brie p less

n two r A t f tha yea s, ngelo devo ed himsel to the

t of Julian monument, and to the construc ion the

f of Medici unereal chapel, which was built stone

f ie le A d from the adjacent village o F so . rian

h ttle for for th e cared as the Rovere as Medici ,

’ and had an equal indifference to A ngelo s oce n

a i n s 1 2 1 A f p t o . In 5 ngelo was god ather to the

of Nic c olb Sode rin i th e e w of f son , n phe the ormer D President of the Florentine Republic . uring the n ext year the Senate of Genoa desired him to m of An D i ake a statue drea oria, but noth ng came

A n i k of it . He wrote to gel ni I have much wor to w so if I do , and I am old and un illing, that ” work for a day I must rest for four. LE M E C N T VII . 77

APTE V CH R .

rs t I L ur ti n r Flor e n tin e La b o . Cl e me n VI . a en a Lib r a y.

uil F ortiﬁ t n . Th Si e f F l r e n e F a ll of th e B din g ca io s e e g o o c .

Re ub li p c.

’ IN N I 2 C ovember, 5 3 , ardinal Giulio de Medici was P s a n d elected ope, to succeed the decea ed

A n VI . unlamented drian , and assumed the ame

of C f his . lement, to oreshadow conciliatory policy He always treated A ngelo with distinguished court e s t n y and generosi y, appreciati g his high talents as w n f ell as understandi g his aulty temper, and enjoy

of t r t ing his works, and those o her a tists and litera i ,

of se c ur as a Medici should . He was so desirous

’ in A v g ngelo s undivided ser ice and obedience, that he endeavored to have him take holy orders ; but

f th e P this proposal was re used, upon which ope

ff him of f o ered a salary ﬁ ty ducats a month, and C l this he accepted . The works on the Medici hape w t VII en on apace after the accession of Clement . The master had much difﬁculty with his clerk of

k St f n ot wor s, e ano , yet he dared turn him away 8 I H 7 M C A E L A N GE L O. becaus e both of them had been enrolled among th e P n r f f S ar o o . f iag oni, ollowers avon ola Ste ano wa s of i l , however, a practical architect great sk l , a n d his master woul d not plan the Library until he

w t had consulted i h him . A ngelo was a great admirer of the three famous t Of Floren ine architects who had preceded him .

’ “ Ghib e rti s th e gates to Baptistery, he said, They a r e f of so beauti ul, that they are worthy being the

” ’ of P ta f gates aradise . S nding be ore Don a te llo s

’ of St. n t statue Mark, he cried out, Mark, why do ” you speak to me ? and on another occa sion he “ If St. f said, Mark looked thus, we may sa ely W believe what he has wr itten . hen he was a d vised to vary the lantern on the Medici Chaple from that which Brunelleschi had built on the old

of Sa n L sacristy orenzo, he remarked, It may be ” f t a t r . O va ied, but not improved o her r ists he

t of a spoke no less pleasan ly, saying Gentile da F brian o that his name corresponded with the grace

’ “ of of Ce sa ri s A rt his style and medals, that has ”

for . reached its last hour, beyond this it cannot go

In 1 5 2 5 the master went to Rome to discuss with the Pope his plans for the chapel and th e new

L r L r wa s th e D au entian ibra y, and menaced by uke

MI CH A E L A N GE L O .

P ff v l on a n d Thou knowest that onti s do not li e g, we w or cannot too strongly express our ish to see, t C w t at least to hear, hat the hapel i h the sepulchres of L ﬁn our relatives, and also the ibrary, should be i o f m i sh e d . Both these we recom end to thee ; n the mean time we will, as thou hast already said,

it exercise a good patience, praying God to put into thy heart to make ha ste on both together and not to doubt that labors and rewards will be want

w No ing to thee as long as e live . w remain in the blessing of God and o f ourself. L L The work on the aurentian ibrary, adjacent to

C of Sa n L the hurch orenzo , went on so rapidly

f 1 2 wa s f that it was roo ed in in 5 5 , and urnished P the n ext year . The ope desired that it should

- have a richly carved wooden ceiling, and that the desks and chairs should be made of walnut and — A A ﬁr . for wood In pril, ngelo sent the design the w h P door ay and its motto , whic the ope liked so well that he said no ma n in Rome could have in

a n ’ ve nted so good inscription . He ordered the

of el l/a ( Gr ima ce seats to be carved walnut, and ,

. t th e of th e ma n iﬁ that is, hat they resemble works g

’ C s cent osimo The carved ceiling, de igned by

A n was Ca rrota a n d gelo , executed by Tasso and FL ORE N CE ’S P E I/ 0L T! 8 1

e x isfs was the elaborate ﬂooring, which still , made

1 f by Tribolo . The hall is 3 5 eet long and 3 5 feet w a n d t ide , reﬂects but li tle honor on its builder, on

of - m account its ill conceived orna entation .

t a t t b ut e o r a hi I aly was that time not I aly, a g g p

t o f tt t t w h cal colloca ion pe y s a es, ﬁlled it dissen t sions and reacheries, and scourged by intestine

s e rﬁd wars and deva tating pestilences . The p y and immor ality of the princes were reﬂected in the un

t of th e speakable vices and corrup ions people , and

s of f the entiments honor and reedom seemed extinct .

t t « The I alian spiri had not yet arisen , and the de

e n in sula rs f based p sold their air land cheaply, ﬁrst to the French and then to the Germans . The culminating disaster was the sack of Rome by the

al 1 2 Imperi army, in May, 5 7 3 and when the Flor

n ar f ai e tines he d thereo , they r sed the red lilies f o l . the Republic, and expel ed the Medici The f monks of St. Mark revived the memories o Savo n a r ola as s t , by their imp ioned preaching, and erec ed over th e porta l of th e Municipal Palace a ma rble tablet (which still remains) bearin g the inscription V H S RE X E GUM E T DoMrNUs DOMINANTIUM . , R

i s w t Fam ne and pe tilence s ept through the ci y,

t Buon a rroto in the o f never heless, and died arms 8 2 M I CH A E L A N GE L O. his A n f i lamenting brother ngelo, who ever le t h m

’ during all his terrible sickness . The master s com missions for the Medici Pope were thrown into abeyance ; but the Republican Government or dered him to carve a group of Samson slaying a

P st t hili ine, as a pa riotic symbol . The model which he made for this work is n ow preserved in the .

South Kensington Museum .

1 2 n a n d In 5 9 the radical party came i to power,

C r f t a ducci was elected Gon aloniere . But in h e meantime the Pope and the E mperor had formed

for of a n d an alliance the restoration the Medici, prepared to attack the city with an army under

- the Prince of Orange . The war council appointed

A ngelo as governor and procurator -gen eral of the f t f of a or iﬁcations and de ences Florence, and

- member of th e militia council . Thus the sculptor f was pushed by destiny into still another pro ession, and was summoned from his studio to act as a supervising military engineer . He accepted the

own f duty imposed, and moreover loaned his unds th freely to th e menaced Republic . He secured e

of of n t f i services a great number peasa s, who ort

ﬂe d of a n the hill S Miniato under his directions, erecting long lines of bastions around that impor

8 4 M I CH A E L A N GE L O. r K etire to France, where ing Francis I . had e a r n e stl y invited him to settle, at his court . This per f mission was denied, and so he ﬂed rom the city,

diﬂic ult V with great y, and passed to enice, on his

of V way to France . The Government en ice of fe r e d mun iﬁc e n t ar s him him a sal y, to establi h self in that city 3 and he made a design for a new

i for D . R alto Bridge , the oge Gritti

’ A ngelo s ﬂight caused a great sensation in Flor

th e S n i ence, and ig ory ssued an edict placing him and several other fugitives under the ban of the

as i in Republic, rebels, yet giv ng them a week

hi o w ch to return and submit to the G vernment. f He was, however, com ortably housed on the Giu V u decca, at enice, receiving disting ished courtesies f n rom the citizens, and abu dantly supplied with w money, since he had carried ith him gold W i . en ducats, sewed nto his clothing hile ﬂeeing N toward the orth, he was courteously received by

D of the uke Ferrara, who showed him through his

' “ of a re great collections pictures, and said , You m f y prisoner, and be ore you leave me you must

for t give me a promise to do something me , ei her ” in f . painting or in sculpture, as you may pre er It wa s probably during this period of exile that A n gelo wrote his pas sionate sonn ets to Dan te . TH I 8 E S E GE . 5

O D P wh o was e In ctober, ella alla, to have a com

a n ie d A wr t t p ngelo to France, o e to him hat the

wa s r u c b ut enemy al eady encamped abo t Floren e ,

' ' th e t we r e ﬁll e d it t of v ctor ci izens w h arden hopes y, a n d he hims elf should remain to help defend th e

A t t city . the same ime the Government sent a

f - A t t o r . sa e conduc to ngelo , and begged him retu n Filled with anguish at th e danger impending over

t fr V his na ive land, the master hastened om enice to

L th e ﬁ t t r e ucca, and embraced rst oppor uni y to

a enter Florence . Here he was pl ced in command of the f t t h or iﬁca ions, w ich were already crumbling under the bolts of th e German H is ﬁrst

r wa s th e - w of Sa n i t ca e to repair bell to er M nia o , th e beautiful old Gothic church which he called his

two i bride, whereon Florent ne cannon had been

\ w ﬁre so th e b e mounted, hose galling annoyed siegers that they had dir ected a heavy cannonade

th e . upon tower, and injured it seriously The

of w damaged masonry was protected by bales ool, which were employed als o a t other parts of th e d e

f w th e st th e . ences, here ho ile shot had broken walls There were regular infantr y and volun

l s a n d teers in the city 3 and the villas, pa ace , churches for a mile outside of the walls had been 8 6 M I CH A E L A N GE L O.

i levelled, wh le the groves and orchards had been w cut do n and made into fascines . The Imperial ists occupied Sign a and La Lastra furiously assailed f t the bastion o S . George 3 and overran the Tuscan e e rruc c io t rritory, where F , the Republican general ,

f al f a n d a ter sever successes, was de eated slain .

Famine and pestilence appeared in the city, but the people resolved to die in the streets rather than A t f . o surrender last Malatesta, the commander

f of the de ences, was convicted treachery, and when a n fﬁ wa s o cer sent to depose him, he stabbed him, and turned th e guns at the Roman Gate upon the c No ht i ity . pg remained but to make peace w th Im the besiegers, and Florence surrendered to the

f of perial orces, under the pledge amnesty and the preservation of her liberties . Throughout the period of resistance A ngelo was one of the foremost on the walls and in the coun

f of a cils, and conducted himsel with the valor

f t of P veteran and the calm ai h a iagnone . His hours o f repose were devoted to th e practice of his

f f th e n t pro ession , and he retired rom roari g ba teries

wa s to his quiet studio, where he engaged in paint

‘ ’ in g a picture of Leda and the Swan for the

r was s l d for Duke of Fe r ara . He al o cal e upon

8 8 M I CH A E L A N GE L O. making for him a statue of A pollo dr awin g a n arrow f t f . o e rom his quiver This beauti ul work, n quit

n in N n ﬁnished , now remai s the Italian atio al St Museum at Florence . ill the master did not d return to the Medici cause, and incurred the hatre of A of f n e w D of lexander that amily, the uke

f n Florence, by re using to take part in the erectio f of a new ortress to dominate the city . The agent of the Duke of Ferrara was displeased

’ the L at eda, and had angry words with the artist, wh o afterwards gave it to his pupil Min i a n d

i 1 2 another Florent ne . In 5 3 Mini carried this f P picture and a copy thereo to aris, where it ulti

f in Du mately passed into the hands o the K g . ring

n of Lo . the re ig uis XIII , it was destroyed by the

of of superintendent the royal palaces, on account

of E its supposed grossness suggestion . astlake .

h w r E . o ever, says that it is still prese ved, in ngland

Th e of S th e group amson and Goliath, which

of A n n Republic had ordered gelo, was never ﬁ ished, so completely had th e sculptor been engrossed with

of r for military duties . The block ma ble destined this work was given by the Medici to Baccio Ban

’ d A n ~ inelli, ngelo s bitterest e emy and most pre

f r of sumptuous rival, who executed rom it the g oup TH E F 8 A MIL Y. 9

C t Hercules overcoming the robber acus, which s ill di ﬁ ure P S s g s the iazza della ignoria .

In the mean time A ngelo had secured the r eturn of his father to Florence . The weak old man had been appointed to hold Cas telfranco for the Repub

’ to P l t a d lic , but had ﬂed isa, on the Imperia is s

ft f vance, and, a er the city ell , corresponded with

r L u his g andson eonardo about ret rning thither .

S Cas an of La Ve rruc c a igismondo was then tell , on

P a u n him to the isan Mount ins, and prevailed po wa e e sa f it until the roads w r e . 0 M I H E 9 C A L A N GE L O.

C A P E V H T R I .

Th e Medici Ch a el Pa ul I II Th t ud t . . e L a s me Th p J g n . e — Ca itol . Th e F a rn es e Pa l a ce Th e Sta tue of Mos es p . .

THE master continued to work night and day on

u for C the stat es the Medici hapel , until at last his

i ff r health began to g ve way, and he su ered g eatly

‘ f of rom sleeplessness, loss appetite, vertigo , and t general emaciation . These physical roubles were augmented by the mental agony consequent on

f n e S seeing the miseries o his city . O day trozzi

’ wr ote on A ngelo s statue of Night the poetic lines

Th e Ni h t which th oudos t s e e in s uch s we e t uis e g , g

To s l e e wa s b a n a n e l A n e l o h e wn p , y g [ g ]

F r om this r ock a n d th ou h s h e s l e e s s h e live s . , g p

’ r oue h e r if th oub e lie v s t it n ot a n d s h e will s e a k to A s , , p

th e e .

The sculptor answered (for the statue) in these w i v tu of ords, bewail ng the ser i de Florence

a r to m i s l e e a n d mor e to b e of s ton e De e s p , ;

Whil e in ur a n d s h a me e n due j y r ,

t i r tun a te for me To s e e n ot, to fe e l n o , s fo ” So wa ke me n ot ; a l a s l s p e a k l ow .

2 I 9 M CH A E L A N GE L 0.

us a n d of t0 ’ se c on d disting i hed ability, genius ﬁt

own i of his , could endure to live w th a person

u t s ch unamiable trai s .

of 1 A In the summer 5 3 3 , ngelo petitioned the Pope to have the ducats which he had a d va n c e d th e l to Florentine Repub ic repaid to him . Clement ordered the Duke of Florence to re fund - to the artist the money which he had loan ed in order to keep both the Duke and the Pope out of

Florence ; and thus the audacity of the sculptor

t ' was matched by the magnanimi y of the prelate .

’ Clement s regard for A ngelo wa s mingled with a sort of fear withal 3 and he was accustomed to tell w him, at their intervie s, to be seated, and to put

w n w. his hat on , kno i g that he would do so anyho

of f difﬁ In spite the threatened anathema, resh

A n c ultie s arose about the Julian monument . gelo

A 1 2 d went to Rome in pril, 5 3 , and ma e a new

t of li lius f contract wi h the heirs J , binding himsel to discharge his debt by designing a new sepulchre , to be decorated with the six statues which he had

i to a begun , and which he prom sed complete in

“ h ttl e r w of a over th ee years . These alone ill be w ’ l ” orld s value, as they wil be incomparable, wrote the exultant E nvoy of Urbino to his sovereign . D E A TH OF H I S F A TH E E . 93

' n of th e C O his return to the labors Medici hapel,

t w t th e M on torsolo for he ook i h him monk , s t s d tt b moo hing and poli hing and un ercu ing, y which means th e Friar learned many things from t t di tt t w ha vine man , observing him a en ively hile he ” th e st w . S t 1 orked In ep ember, 5 33 , ma er went to Sa n a l P C t Miniato Tedesco, and met ope lemen

VII was t wa . , who hen on his y to France to solem

’ th e s of his C t nize nuptial niece, a herine de Medici,

’ t P t to with h e King s son . The apal rain was about

for of th e D embark Marseilles, in the galleys uke of A S st s to A lbany, and eba iano gave his hor e ngelo,

t being unable o carry it on shipboard .

’ E 1 A s f t th e arly in 5 34, ngelo a her died at villa in

S tt his t . e ignano , having reached nine ieth year His remains were honored by the grieving son with a costly funeral at Florence 3 and his memory wa s

i s a c t consecrated in a tender eleg ac poem , the la t

- of a long seas on of self sa c riﬁc e and ﬁlial love .

Most o f the years 1 5 3 3 and 1 5 34 were devoted to

C i Da a n d w t the Medici hapel, carv ng the y T iligh , while M on tor solo ﬁnished th e two ducal statues .

S t of th e t A w t to In ep ember la ter year, ngelo en

t e s t of Rome, just in ime to be pr ent at the dea h

ft w in a n d C t VII . lemen , a er hich he abode Rome , the works on th e chapel and the library ceased . M I CH A E L A N GE L O.

C 1 is The Medici hapel was ﬁnished in 5 34, and

of tu r a broad and massive piece architec re , eplete w t t ith harmonious simplici y and digni y . It is

r ar quad angular, with ched recesses in each side,

of t one which is prolonged in o a chancel, and decorated with a white mar ble altar and cande A n . labra, desig ed by ngelo The walls are adorned with two series of Corinthian pilasters 3 and on

s of th e n umb e r each ide niches are doors, eight in ,

t of t l I mos which are merely ornamen a . In 5 3 3 A ngelo approved of the designs of Giovanni da

of Udine , who decorated the interior the dome with richly- colored arabesques and ornaments in tu A ll s cco . these have since been removed or w t w hi e ashed, leaving the chapel most poor in

of th e color . It contains the monuments two D Medici ukes, and an unﬁnished Madonna, by w A . On ngelo, ith other contemporary statues one

’ of side is the mausoleum Giuliano de Medici,

D of N r of L M a n iﬁ uke emou s, son orenzo the g f o P Le o X. cent, and brother ope , surmounted by

’ A s t of n ngelo s ta ue Giulia o, in a sitting posture ,

a r rh or on e clad in , and holding loosely in hand the

of t n baton a general, and in the o her the golde u d coins of a rr Ital ian conspirator . The upt rne

6 I 9 M CHA E L A N GE L O.

e i t the one a male ﬁgur representing the Tw ligh ,

f t D n the other a emale ﬁgure represen ing the aw , f of n of f w n ull the expressio per ect oma hood, yet f f bearing a ace utterly sorrow ul and hopeless . The statue of Dawn has been called the most beautiful

’ of A th e r ngelo s works, and one which most su ely

t r of o surpasses the mas e pieces the ancients . S me dispute has arisen as to which of these tombs and

of L of statues is that orenzo, and which that Giu f f liano, since even the artist himsel con essed that he had n ot adhered to nature in portraying their faces . Many writers have advanced many theories as to the meaning of the al legorical statues in the

C of n Medici hapel, and all seem desirous ﬁndi g

e i some recondite symbolism therein . On sees n th e Dawn the open ing of a gloomy day for Flor ence, under the despotic Medici ; in the Twilight, the e vening of sorrow falling upon the devoted

N f of city ; in the ight, the dole ul eclipse lib e rt Da of th e y 3 and in the y, the prophecy heroic

f e \ freedom of the utur . But would the man who had been n urtured from his boyhood by the f Medici, and had enjoyed rom them the richest

a r o e of m u r p t nag his at rer years, would he, howeve M ODE RN E A P E A P IA NS . 9 7 m n as uch a Florentine, be so ig oble thus to insult

r ? Or if w them in their g aves , he ould, could he . w P a hr a n d ith a Medici on the ap l t one, supervising f for on o paying the work, and another the throne Florence ?

Neither of the four allegorical statues is ﬁn r ish e d al a ll , but the duc statues are complete in

ar th e of th e p ts, thanks to labors monk Montor

th e of L A a r solo . In tomb orenzo , his son lex nde

1 wa s was also interred, in 5 3 6 and this sepulchre

1 8 of r opened in 75 , under circumstances the g eat

ar t of two est b bari y . The remains the Medici

f ar f a princes were ound, c e ully l id out, embalmed and robed but the rabble of people who were u f present p lled the bodies to ragments, carrying off of th e t s pieces garmen s, and even mall bones a s t ft n memen os, a er which the desecrated remai s w un fu ere ﬂ g back in a con sed heap .

L 1 n e w Po e P . A ate in 5 34 the p , aul III ( lexander

’ s of Bor ia s C d Farne e, one g ardinals) propose to

A R wa s of retain ngelo at ome, since he a lover

’ ar t th e r s letters and , and admired g eat sculptor

t f I N is works . The Pope and e n o S cardinals v ited

‘ i to n for L the stud o, see the desig s The ast Judg ment and the Julian statues 3 and the Cardinal of 8 9 M I CH A E L A N GE L O.

Mantua exclaimed that the statue of Moses wa s

to of enough do all honor to the memory Julius .

S 1 A C f In eptember, 5 3 5 , ngelo was appointed hie A rchitect; Sculptor and Painter of the A postolic

Pa w t of lace , i h all the honors and privileges the

P C of apal ourt, and a salary golden crowns

f of wa f a year . Hal this sum s to be derived rom

f i Po a erry over the R ver , which was granted to

for f f w him li e, but a ter ards became almost value

o i f less by the establishment f a r val erry . The

D of was uke Urbino, whose interest it to keep the f of P to u A ar avor the ope , ceased rge ngelo to c ry out even his last and most easy contract . It was dangerous to triﬂe with th e interests of a potentate E who had just laid all ngland under interdict, and excommunicated its king (Henry During this year died the generous and handsome Ca r

t ’ dinal Ippoli o de Medici, who had been a ﬁrm friend of Titian and A ngelo . The latter once admired his magniﬁcent Turkish horse , and soon

ft war a er ds it was sent to the studio as a present, a ttended by te n mules laden with provender .

‘ The execution of the immense fresco of The

’ L of S ast Judgment, covering one end the istine

C A P e hap el, had been devolved upon ngelo by op

[ 00 M I H A E L A E L O C N G . he n n f in used to paint a ude ﬁgure, larger tha li e, two days ; and he could have executed the entire W i ork n a year, but that he needed such long per ods of repose that over six years were con sumed

n t a n upo i , and it was not completed un til l te i

1 1 54 . Towards the end of 1 5 3 7 the fame of the n e w fresco going on in the Sistine Chapel ha d spread

’ w . P A r n t idely over Italy, and ietro etino , Titia s in i

f a to mate riend, wrote long and sycophantic lette r

for t f the master, asking a pic ure rom his hand, and

for it promising to pay by heralding his genius .

’ A ngelo s answer shows at once his scorn of the

ar of is m ven al parasite, and his fe arousing h erci less satire .

W ar A f hen the painting was ne ly done, ngelo ell fr his ff his om sca old, while at work, and injured leg w seriously . He was carried home, but ith his usual eccentricity refused to all ow any one to give

Ron tin i fr n him assistance, until the surgeon , his ie d , f n orced a way in, and remai ed until the a rtist had recovered . During one of his frequent visits to the Sistine

C P da hapel, the ope was attended by Biagio

C n o f d ese a, his master ceremonies, whom he aske TIIE A R TIS T ’S R VE N 1 0 1 E GE .

or his on f f opinion the new resco . Biagio bluntly answered that so many naked ﬁgures seemed to

for - him very immodest, and rather ﬁt bath rooms a f n d stables than or a chapel . The angry a rtist took h is revenge by painting a portrait of Biagio in

’ th e f c i resco, with asses ears, a ting as M nos, the u master of ceremonies in hell . The inj red ofﬁcial begged the Pope to have justice done, but Paul

“ ie lie d If p , the painter had placed thee in purga

s u ff t tory, I hould have sed every e ort to help hee

i e e but s nce he has put thee in h ll , it is us less to

' ’ s e x zn e r ms Mull et e s t have recourse to me, becau e f

’ ” e de m tzo N r . e wa s t p everthel ss, Biagio righ , and the impropriety of using the great theme of th e

/ D ie : I n c as an opportun ity for a painter to show his rar e dexterity in depicting the naked human form wa s recognized by subsequent Popes ; a n d V f P I . t r to tr the fr aul , a e resolving des oy esco, com

' ' promised by having the nude ﬁgur e s dr aped by

Da n e e Vo e r ft i l da lt r a, who therea er bore the nick

“ ‘ ” a of - e 1 n me the breeches maker . Ther are 3 4 ﬁgures a n d heads represented in this vast fr es co “ ” f f a n which Lanzi calls a pro usion o nudity, d

Ha wthorne sa w as a sprawl of nakedness . The composition of the fresco is marvellously [ 0 2 M I CH A E L A N GE L O.

of lf of f r clear, by reason its ski ul arrangement ou well-balanced groups ; and the dr awing of most

- of the ﬁgures is unsurpassably ﬁn e . Twenty two yea r s had elapsed since A ngelo painted the vault

of C t - ing the hapel, and he was six y six years old when th e Last Judgment was ﬁnished 3 but the latter

of f shows a great increase power and acility, rather f than a decadence, although he had done no resco painting in the mean time “ He now had greater

f- c on ﬁde n c e sel , and his cartoons were hardly more f than outlines . The coloring was o the monumental

a f a n d order, broad and c re ully modelled, marked by a realistic Chiaroscuro very different from the

f two poetic simplicity o the elder artists . Yet f noticeable aults are seen , in the monotonous simi la r it of of y the ﬁgures, and their appearance the same age ; while other indications show that he d w re them without models, and hence without the

o t variety f humani y . In the upper a r ches of the wall are two garland

of C th e like groups angels, bearing the ross and

la e lla i n w C of t o . column the F g Belo these is hrist, w the Rhadamanthine Judge , nearly nude , ith the f of A of f ace pollo and the muscles a gladiator, hal ri n n c sing to pro ou e the dread sentence, while He

1 0 4 M I CHA E L A N GE L O.

tu of i cen ry . But the vivid blue the sky, the lur d

m s of f n w of a n d ﬂa e the In er o, the varied glo light

ar ﬂe sh — t f t d k tin s, have long since aded in o a uni f s u of l orm dingines , obsc red by the smoke cand es a n d censers, overlaid with dust and cobwebs,

- s daubed here and there by j ourneymen restorer ,

th e f - and battered by ladders o church decorators .

S 1 D of In eptember, 5 39, the patient uke Urbino w to A n L rote gelo, begging him that when the ast

t Judgmen should be ﬁnished, he would remember

: his P . n duty to ope Julius II , and complete the lo g delayed monumen t ; The master showed his r e gard for Urbino by designing for him a great sa lt

W - cellar, hich was executed in silver gilt . The architectural splendors of the Roma n Capi tol were now about to be revived by a society of

' n s A to de si n patriotic citize , and ngelo was chosen g

f o P the work . He ormed the plan f the iazza del C ampidoglio, as it now stands, although it was not

f r ri completed or many yea s . The equest an statue of A Marcus urelius was brought hither, to serve as

al fa a de s of P a of a centr ﬁgure, and the e the al ces th e Museum and of the Conservatori were rebuilt

n e w of A n t C n in the manner gelo, wi h orinthia

e m on pilasters sup ri posed massive piers, and suc TH E P A ULI N E CH A PE L 1 0 . 5 c e ssive t of -t u s ories semi emplar architect re . He also planned th e stairways to th e Convent of th e

A r a c oe li th e r t of th e th e , on highest pa hill, where temp le of Jup iter Ca p itolin us formerly stood 3 and th e stairways to the Palace of the Senator were i executed under his care, as an arch tectural back

th e of A i ground to statue urel us . In 1 5 42 th e famous architect Sangallo ﬁnished

P u C th e V t P P l the a line hapel, in a ican 3 and ope au

ft s A n a er whom it was named, de ired gelo to

But t f t adorn it with frescos . the ar ist elt hat he wa s fa r t t if in already gone in years, and ha he ever tended to ﬁnish the Julian monument he must now

it w f t t be about , here ore he earnes ly opposed his P new diversion of his time . The ope once more

th e D of appealed to uke Urbino, and that courte

r t him ous prince w o e to the master, telling that he would be satisﬁed if he should place on the monu ment the thr ee statues which he had ﬁnished and supervise the execution of the other thr ee by any ” good and prais eworthy master . Angelo commenced his work in the Pauline

C t 1 2 r th e C u l hapel la e in 54 , the yea in which o nci of e n n it t r 1 Trent b ga , and conti ued h oughout 5 43 wit t P wa s a hou remission . The ope now building [ 0 0 M I CH A E L A N GE L O.

for f a me se w magniﬁcent palace his amily (F ) , ith

’ Sangallo as the architect 3 and requested A ngelo s

to th f t opinion as e design or i s cornice . He sub

mitte d n in c on siste n a harsh report, upbraidi g the

’ of S u n V cies angallo s plan , and q oti g itruvius

a s t against him . He w called upon to build a s air

a t th e P to way Belvedere alace, and also restore

r of S t of the ancient B idge anta Maria, bo h which

ta s ks were successfully accomplished .

1 a In June , 5 44, the master was attacked by

ln f serious il ess, and his riends had him removed to

th e St P f rozzi alace , where he was care ully tended

his L i fre by dear companion , uig del Riccio, and

quently visited by the eminent men of Rome . He caused Luigi to send a message to the Kin g of

t t of France , begging him to res ore the liber ies

a n d f Florence, promising there or to erect a bronze

t t t of t f of eques rian s a ue His Majes y, ree cost, in

d t the Piazza ella Signoria . Leonardo Buonarro i w f came do n rom Florence to attend his sick uncle ,

b ut th e t old man would not receive him, saying hat he had come only to secur e his estate . His home had been an unpleasant one , and his relatives were d f ud sor id and rapacious, where ore he wo l have

of t his of t t none hem in hours ex remi y .

: 0 8 I M CHA E L A N GE L O . a ll d f of o of th e o n the e ects ther parts m nument,

r w r e w r its are po er and grandeur . The g at la give w t f d is sho n in a si ting posture, but is starting orwar

of t o under the inﬂuence s rong and sudden em tion , l c utching his long beard with one hand, and gazing w f ith a look o mingled indignation and contempt .

N of f t ear the top his orehead two horns projec , a representation arising from an erroneous tr a n sla

n of w w th e V tio a Hebre ord, so that ulgate Bible

“ t t E . 2 n o renders xodus xxxiv 9, He knew hat his

” “ f t of t ace was horned , ins ead He wist not hat th e f f is ﬁn skin o his ace shone . The drapery ish e d w t ith great skill, and shows the s rong and

f V sa grace ul outlines of the body beneath . asari ys

ft c w of w that a er the Moses was ﬁnished, ro ds Je s S came to see it every aturday, adoring it as a divine work . When the Pope determined to fortify th e Le o

C th e of V a nine ity, part Rome in which the atic n

b e of st stands, appointed a commission artilleri s a n d n i t A e g neers to plan the work, wi h ngelo and

t Th e others as consul ing architects . master had

w w t S in th e P sharp ords i h angallo, even apal pres

f r n s in ence , and orced impo tant cha ge to be made f the de ences . TI TIA ’S V 1 0 IV I SI T. 9

In 1 5 45 Titian dwelt in Rome for several

t s t t of mon h , pain ing por raits the Farnese princes a n d A n s t f a n d gelo vi i ed him in a riendly manner,

his i b ut r w « commended color ng, not his d a ing, say

s us t a ing al o , He has an exq i ite percep ion , and u ” delightf l spirit and manner .

E arly in 1 546 the master fell so ill that it was w t wa s L r idely repor ed that he dead , and eona do Buonarroti hastened to Rome once more to see ut . B r him he quickly ecovered, and sent large

f f to f gi ts o money his amily in Florence . He was soon able to attend the meetings of the fortiﬁc a t w Sa n ions commission , here he steadily opposed

ff f own o n . gallo , and o ered plans his devisi g

A h n . of bout t is time, also, King Fra cis I France sen t Primaticcio to secure for him a specimen of

‘ ’ A a rtist romise d ngelo s work 3 and the gratiﬁed p ,

for even at his great age , to prepare him a work

t . in marble, ano her in bronze, and a painting

“ u r if it Sho ld death interrupt this desi e, then, be

: i s t pos ble to culp ure or paint in the other world, I

s n ot f to d o e . hall ail so, where no one b comes old

During this year he lo st his income from the ferry

th e i Po i on R ver , and declined the chancellorsh p of th e P ff . Rimini , which ope o ered him as a com [ I O M I CH A ' E L A A GE L O.

pe n sa tion . The roof of the Pauline Chapel was

ar tl de str o e d p y y by ﬁre, about this time, and the t f inchoa e rescos were menaced with destruction . The master next added a magniﬁcent classic c i n P of orn ce to the Far ese alace, a part his original design having been executed in wood and put up

fa a de P e on the e , and when the ope approv d it, it

f t wa s duplicated in stone . The upper story o his most sumptuous palace was constructed by the master 3 and the plan of its admirable arcaded court wa s adapted by him fromthat of the Theatre of u w f C Marcell s ( hence , and rom the oliseum, the

ac k stone for the pal e was ta en) . He also made

for the plans a bridge over the Tiber, to connect

th V a rn e sin a th e Farnes e Palace with e illa F . P There are several ﬁne palaces in Florence , isa,

N t - t Bologna, and other or h I alian cities, which it is

’ f A n N claimed were built rom ngelo s desig s . umer ous f i t t ounta ns, cloisters, and s a ues, in those cities are referred to the same origin 3 and the claims are

in probably justiﬁable some ca se s. r 3 2 MI CH A E L A N GE L O.

a n d f d her brilliant gi ted husband, and desire to P f enter a nunnery 3 but the ope orbade , and she retired for rest to the Roman convent of Sa n Sil ve stro in C e of C apite , a depend ncy the olonna

- f . amily, annexed to their palace garden There she

“ for ar remained ye s, to weep , to pray, to study, to w t t rite, and to stretch out her hands wi h beneﬁ s ” for m her kind, until her ind became once more

un of . serene, and she ret r ed to the society her rank Near er than all others was the venerable painter of th e S n C isti e hapel, into whose stormy and unhappy car eer she brought an unwonted peace and bright

t 1 2 n ess . He ﬁrst met her at some time be ween 5 3

I 6 for and 5 3 , and enjoyed her deep attachment

ﬁfteen year s . A ngelo design ed two or three pictures for Vit

“ of of w : toria, one which she rote I had the r f g eatest aith in God, that He would give you a supernatural grace to paint this Christ ; then I saw

s f it, o wonder ul that it surpassed in every way my expectations . Being emboldened by your mira

th a t whic h n ow cles, I desired x I see marvellously ful in ﬁlled, that is, that it should stand every part

s f in the highe t per ection, and that one could not desire more nor rea ch fo rwar d to desire so much VI TTORI A 19 P OP T I 1 1 RA T. 3

An d I tell you that it gave me joy that th e angel on th e right hand is so beautiful 3 for th e A rchangel

w A th e Michael ill place you, Michael ngelo , on

of L a t ud - Da right hand the ord the J gment y . A n d meanwhile I know not how to serve you oth e rwise to to w C s W than pray this s eet hri t, hom you

f t t t t have so well and per ec ly pain ed , and to en rea you to command me as altogether yours in all and ” A s w t through all . ngelo al o dre the por rait of

V t V w i toria, which Marcello enusti painted, sho ing ll w a ta and stately ﬁgure in black velvet, ith a w ’ f white idow s veil, and a noble but weary ace,

ﬁlled with deep repose . In 1 54 1 the cause of the reformation of the

Chur ch from within appeared hopeless 3 and the

ri of V t C t umvirate saintly women , i toria olonna,

of e rra ta ar of N Renée F , and Marg et avarre, though aided by the E nglish Cardin al Pole and the Vene

C C th e tian ardinal ontarini, lost heart amid general

f th e P t Vite r demoralization o clergy . ole re ired to b o V tt f , accompanied by i oria and her riends 3 and

C t of f on arini died grie and disappointment, at

V C a Bologna . But ittoria was still and ever a olonn , and endured the new reverses with dignity and for

titude . 1 1 4 MI CH A E L A N GE L O.

Sh e A gave to ngelo a vellum book, containing

1 0 of f 3 her sonnets, and a terwards sent to him the

’ 40 new ones which she composed at the convent of V n f iterbo . He probably retur ed the avor by

n h e r sendi g to , with whom he was in continual cor f respondence, the verses which he himsel com

1 2 f m V posed . In 54 she wrote ro iterbo, saying

n A h Mag iﬁcent Master, Michael ngelo I ave not

f n if answered your letter be ore, thi king that you a n d I continue to wr ite accordin g to my obligation a n d u ar your co rtesy, it will be necess y that I leave ’ C f w St. C e atherin s hapel, without ﬁnding mysel ith

S r the isters at the appointed hou s, and that you

n th e P C must abando auline hapel, and not keep yourself all the day long in sweet colloquy with

f of your paintings, so that I rom the brides V C f al f . hrist, and you rom His icar, sh l all away

f fr m Thus this pure soul, yearning to sever itsel o a ll ar f for earthly ties, and to prep e itsel Heaven, took measur es to break off the congenial corre spon de n c e which still sometimes recalled it to the ff a airs of time .

’ a a of V f r e During the l st ye rs ittoria s li e, she vn a in e d f n in Rome, and requently called upo

A o the ngel where he was at work, while many were

[ 1 6 M I H A E L C A N GE L O.

A n gelo was indeed ready for the upward move m of C for f ent the hurch, which he elt the deep

V w of th e t of n a . eed, in ie degrad ion the clergy When he hear d that Sebastiano was a bout to paint

u of t the ﬁg re a monk in a cer ain chapel, he said “ that it would ruin the chapel . The monks have

: t corrupted the whole world a single one, here ” f fﬁ . ore, is su cient to spoil a small chapel He was quick to detect and resent hyp ocrisy in the laity

of a also, an amusing instance which he shows in letter to his ne phew : To - day I have had a letter f ’ w f w rom the weaver s i e, who says that she ished

i f for Sh e t to prov de a wi e thee . has wri ten i me a long Bible w th a small sermon , advising me to live righteously and to give alms 3 and she says

C t that she has inspired thee to live like a hris ian, and that she was moved by God to give thee that damsel . I should say that she would be better occupied in spinning and weaving than in dispos ing of so much sanctimoniousness . In the winter of 1 5 44—5 Vittoria retired to the

of St. A n C Benedictine nunnery na, the olonna i P palaces hav ng been conﬁscated by the ope, and

n in l there remai ed peace, composing poems ﬁ led w a n d s ith sweet saintly thoughts, and devout prayer VI TTOP I A ’5 D E A TH 1 1 7

E in the Latin tongue . arly in 1 5 4 7 sh e wa s stricken w t t wa s th e i h a mor al illness, and removed to palace of w C Ce sa rin i her noble kins oman , Giulia ( olonna) ,

e wher she soon died, surrounded by grieving fri f r s . A r t end ngelo w o e ou sonnets to her memory,

r his t into which he pou ed whole soul, wi h all the

n earnest ess and vitality, ingenuity and quaintness, which characterized the poems addr essed to her while yet living .

’ C An : ondivi, gelo s pupil, says He deeply loved

of P ar of the Marchioness esc a, whose divine spirit hi him he was enamoured, w le she tenderly loved in

u of t s ret rn 3 and whom he still holds many le ter ,

w t t s w ﬁlled i h hones and mo t s eet love , such as u f f sho ld issue rom such a heart, he himsel having written to her many sonnets replete with talent and w f V s eet longing . Many times she moved rom iterbo

t t for t n and o her places, where she wen recrea io ,

to s to R for and spend the summer , and came ome,

A n no other reason than to see Michael A n gelo . d

to t to he bore such a love her, hat I remember have h t t i t u eard him say, ha he gr eved at no hing so m ch

t t w t to s f t if as ha when he en see her pa s rom his l e,

n ot f a s he had kissed her brow or her ace, he kissed A ft f d her hand . er her death he requently stoo I 8 I M I CH A E L A N GE L O. t a n d if rembling as insensible . I have often heard him speak about love 3 and others who have listened to him on this subject will bear me out in saying that the only love of which he spoke wa s f P ’ that kind which is spoken o in lato s works . For

n P my part, I do not k ow what lato says, but one thing I, who have lived with him so long and so intimately, can assert , that I have never heard any f but the purest words issue rom his mouth . A priest one day asked him why he had never married, w f and he answered, I have a i e who is too much for me already ; one who unceasin gly persecutes ” ar t me . It is my 3 and my works are my children . A f ngelo wrote verses even rom his youth, when he was under the inﬂuence of the poets of the Medici household 3 but his most fruitful period in

of r this regard was that his later yea s, when he enjoyed the friendship of Vittoria Colonna . His

t ft of i in rare originali y and lo iness m nd, as reﬂected

li of these sonnets, and the crystal zations his religious an d r pat iotic aspirations therein preserved, can only

Da n be alluded to here . Giannotti praised the

’ te s ue f of A s q orm ngelo s poem , Berni called them

of P V w a mine latonic philosophy, and archi revie ed

of them before the Florentine A cademy . Several

M I H A E L C A N GE L O.

E te n a l L or d l e a s e d of a c umb r ous l oa r d,

A n d l oos e n e d fr om th e wor l d I tur n to Th , e e ;

hun like a s h a tte r b a r k S , e d , th e s torm, a n d ﬂ e e

To Th r ote ction for a s a f a y p e b ode .

Th e c own of th or n s h a n ds ie r ce d u on th tr r , p p e e e ,

Th e me e k b e n i n a n d l a ce r a te d fa c e , g , ,

To a s in ce r e r e e n ta n ce r omis e a ce p p gr ,

To th e s a d s oul ive h 0 e of a r g p p don fr e e .

With ustice ma r k n ot Th ou 0 Li ht divin e j , g ,

M fa ul t n or h e a r it with Th s a cr e a ‘ y , y d e i ;

N e ith e r p ut forth th a t wa y Thy h a n d s e ve r e

Wa s h with Thy b l ood my s in s ; th e r e to in clin e

M or e r e a dil th e mor e m e a r s r e ui e y, y y q r

H e lp a n d forgive n e s s s p e e dy a n d e n tir e

H ow s h a ll we s e a k of h im for our b lin d e p , ye . A r e a ll un e qua l to h is da z z lin g ra ys 1 E a s ie r it is to b l a me h is e n e mie s

Th a n f r th e ton ue t te ll his h i h s r a o g o g e t p se .

F or us did h e e x pl or e th e r e a lms of woe

A n d a t his c omin g did high h e a ve n e x p a n d

H e r l oft a te s to wh om his n a tive l a n d y g ,

Re fus e d to o e n h e rs . Ye t s h a l t th k p ou n ow,

Un r a te ful cit in thin e ow n de s ite g y, p ,

’ ’ Th a t th ouh a s t fos te r d b e s t thy D a n te s fa me ;

F or vir tue wh e n o r e s s e d a e a r s mor e b i pp p p r ght,

A n d b r i hte r th e r e for e s h a ll his l or b e g g y ,

Suffe r in of a ll ma n kin d most w on ful l g r g y, ” in ce in th e wor ld th e r e live s n o r e a te r n a m S g e . LE OIVA RD U N A 2 1 O B O RR O TI .

During these later years the master kept up a c t w t L f ons ant correspondence i h eonardo, his avor ite e w f t s t t f n phe , who requen ly en him presen s o

Tr e b b ia n i f ts a n d t l ic a rich w ne , cheeses, rui , o her de

t b ut tt i cies . He ells li le concerning h s works in

b ut f t of in ﬁrmitie s of a e art, speaks requen ly the g ,

of t th e s of and his maladies, and direc s di posal considerable sums of money which he sent for

a ti u w ch ri es . He not only gave m ch ise counsel to

w b ut s his nephe , al o aided him in more material

s e t fus w w w way , y he re ed to allo him to thro a ay L money by coming to Rome . eonardo had been his agent in purchasing several estates near Flor

ft him for ence , and he a erwards asked to buy him

th e - t of th e a house in the city, in home quar er

u a B on rroti . The suburban properties thus a c

u — Ca ite to f 1 0 6 La L q ired the p arm, in 5 3 oggia:

1 1 2 In 1 1 u t s in 5 3 Fitto, 5 9 3 and vario s o her Tu can — estates were for th e most part allowed to beneﬁt f w t s ss . his amily, to hom their ren al pa ed

His deep interest in Leonardo Buonarroti wa s m f st th e t d i l e ani e ed, now by mos en ear ng anguag , a n d n ow ﬁ t by ery denuncia ions . He was greatly

t s t f for in ere ted in selec ing a wi e the young man , by whom th e family name and property might be I 2 2 MI CH A E L A N GE L 0 .

. : L transmitted Thus he advised eonardo, I wrote

u f of to thee abo t taking a wi e, and told thee three

n girls which have here been mentio ed to me .

n w of I do not k o any them, and cannot say either

of on e good or evil them, nor advise you about

i va n more than the other . G o Francesco might

: give you good advice he is old, and knows the

A al l world . Remember me to him . bove , seek

of for r Re the counsel God, it is a g eat step . member that the husband should be a t least ten f years older than the wi e, and that she should be

A r L healthy . gain he w ote eonardo, I sent t o f hee in my last a note marriageable girls, which f had been sent me rom Florence . Thou w f needest a i e to associate with, and whom thou

ar canst rule, and who will not c e about pomps, and r im about every day to parties and marr iages . It is easy for a woman to go wr ong who does these

Nor things . is it to be said by any one, that thou wish e st to ennoble thyself by marriage ; for it is well kn own that we are as ancient and nobl e citi

t zens of Florence as those of any o her house . ”

f t . Recommend thysel to God, hat he may aid thee

A t t 1 L b uh las , in 5 5 3 , eonardo acceded to is '

’ w C Ridolﬁ n cle s ishes, and married assandra , upo

1 2 I H A 4 M C E L A N GE L O.

as t of by the great m ter, pictures and bus s the

a f i of in Buon rroti amily, idealized p ctures scenes

’ A f t e ngelo s li e, and o her pricel ss mementos . It is

w t a n d a large and substantial house , i h antique inconvenient rooms .

’ A n gelo s abode at Rome was near the Forum of

n in C Traja , the valley between the apitoline and

n Q uirinal Hills, and has si ce been destroyed . It

of of w consisted a group houses, among hich were

— w for the residence building, the studio , d ellings t w the assis ants, a stable , and a to er . The estate also included a small garden , abounding in shady

’ u — r in la rel trees . For many years Francesco d U b o wa s - the major domo , and dwelt there with his f t - amily ; and here was also a maid servant, the

of daughter a neighbor .

’ A mong the ar tists wh o felt A ngelo s inﬂuence and V C direction , besides asari, ondivi , Urbano, Mini,

S t P wh o and ebas iano , was Guglielmo della orta, u S a t of P al S s cceeded eb s iano as Keeper the ap eal , A ’ w t by ngelo s intercession . He was associated i h

th e P r the master at Farnese alace, and in othe

A e mi works of ar chitecture and sculpture . nothe r

ut a me se V nent coadj or at the F was ignola, who

’ t P e of succeeded A n gelo as A rchi ect of St. et r s and N GE L O’S H P ‘ 1 2 A E L L RS . 5

C t t P t P f hi the api ol , and buil the or a del opolo rom s A t f plans . mmana i also derived rom personal c on tact with th e master much of that boldness of con c e ption which enabled him to erect th e colossal st t of N t a t a n d a ues ep une and Hercules, Florence r a d ua th e t t t of u t A , and gigan ic s a ue Mo n pennine,

0 f t a t P t h 6 . t e r ee high, ra olino Tribolo , designe of i wa s t e of t s the Bobol Gardens, ano h r ho e who w u A ’ ere ill minated by ngelo s genius, having been his assistant in th e Medicean Chapel . Marco da Pino of Siena held the po sition of a friend and

th e i conﬁdant, and subsequently adorned K ngdom of N w t t aples, i h both paintings and architec ure .

B e rruue te S t Al a g , the paniard, who buil the cal

P t own alace, and execu ed other great works in his

t tu of A . A coun ry, s died under the care ngelo lessi,

of f of P r a n d the constructor the ortress e ugia, the

of of of designer many the superb palaces Genoa, wa s connected with the same gr eat master in his f t t . C early li e alcagni , a young Floren ine archi ect,

w t w A n u n a st d el ith gelo d ri g his l decade , and drew many p lans under his dir ection .

’ Daniele da Volterra was one of A ngelo s warmest f t riends, and received the most material assis ance f f all a n d a r rom him, both o ﬁci y socially . The m ste [ 2 6 MI H A E . C L A N GE L O . furnished the design from which he painted his

‘ ’ f D t f Cr most amous work, The eposi ion rom the oss, f ’ C o . a in the hurch SS Trinit de Monti .

V wa s t Marcello enusti a young Mantuan artis .

’ wh o A n came under gelo s patronage, at Rome, and

f his painted many pictures rom grand designs, enlightening them with a delicate and exquisitely ﬁ i h n s e d . A coloring mong these joint works, now of of inestimable value, were the small copy the

L t r of V C ast Judgmen , the port ait ittoria olonna,

C of O the hrist on the Mount lives, and a noble and V innocent Holy Family . enusti also painted pic tures from several of the design s which A ngelo

w for C A dre avalieri, notably an nnunciation, now in the Lateran sacristy .

’ C of of Tommaso de avalieri , a member one the

f of old Roman amilies, and a man amiable mind

’ of A and charming manners, became one ngelo s most

fri a n d dr beloved and intimate ends, was ad essed by

1 in him, as early as 545 , impassioned and eulogistic letters . He gave him several sketches and car

r w toons, since he was an amateu artist, and also dre

C t -b e d his portrait . avalieri was present at the dea h

A ar of f . his aged riend, many years later nother de r L of th e f iend was uigi del Riccio , the intendant

8 [ 2 M I CH A E L A N GE L O.

i u w s ant que Greek sculpt re , kno n as the Tor o Bel

E w h a . d vedere ven in his later years, hen he

a t ab ndoned sculpture and pain ing, he was accus tome d to V t ft visit the a ican as o en as possible , in order to admire and enjoy the grand lines of the

A t s Torso . lls on ﬁnds in this headless and limbles trunk the germ of th e gigantic prophets and Sibyls

t t of the Sistine Chapel . (The s a ement advanced t by Hare , and others, that he was led hi her, being

i f u a fa cul bl nd, is un o nded, since he ret ined all his ties to the last. ) Such wa s the delicacy of his taste in regard to

of the implements his art, that he was accustomed to make his own piercers, ﬁles, and chisels, and to

own . prepare , mix, and manipulate his colors From childhood he had been troubled by a weak

t t cons itu ion, and had been remarkably abstemious

t w and continen , saying, Ho ever rich I may have w ” been , I have al ays lived as a poor man He t slept . but lit le, and ate irregularly 3 and was subject to f t t requent headaches and a tacks of indiges ion .

s In later years he was troubled by cramp in the leg , for whose relief he wore tightly-ﬁttin g drawers of

- f f dog skin . He requently rose rom his bed, during

n a the night, to carve or desig , placing on his head M A N E R F W 1 2 N O ORK. 9

t ﬁ f h is cap wi h a candle xed in its ront, so that hands were left at liberty . He rarely gave or

t t s out wa s s to accepted invi a ion to dine , and aver e compromising his freedom by receiving a ny atten ift tions or g s .

’ Vige n e ro described A n gelo s mode of work thus

An t I have seen Michael gelo, although six y years of of of age, and not one the most robust men , smite down more scales from a very hard block of

of u marble in a quarter an ho r, than three young marble - cutters could in three or four times that space, which must seem incredible to those who f have not seen it done . He ﬂung himsel upon the

f ih marble with such impetuosity and ervor, as to duce me to believe that he would break the work f W into ragments . ith a single blow he brought down scales of marble of three or four inches

t r d bread h, and with such precision to the line ma ke

- th e t if h e on marble, hat had broken away a very

' t of his li tle more , he risked the ruin wor r a 3 MI CHA E L A N GE L O.

A P E V CH T R III .

’ Th e Ba silica of St Pe ter s — Th e Pa ulin e Ch a el — . . p . F loren tin e

Of e r s r me h e L — f . Th e G ea t Do T a st Scul tur th o . p e . De a f

A n gelo.

SANGA LLO in n of 1 6 a n d died the autum 54 , A n gelo was immediately appointed to his place as P ’ A of St. rchitect eter s, although he objected, say in ft f g, as o en be ore, that architecture was not his f pro ession . He was also commissioned to build

war of th e L C the bul ks and redoubts eonine ity, f Ca striotto rom which he was in time relieved by ,

of - a veteran Urbino . The master was seventy one t years old when he acce pted the control of S .

’ P of his eter s, and the remaining eighteen years

f all life were sacredly devoted to it . He re used

v uld remuneration , and insisted that his ser ices sho

of a n d of t be devoted solely to the honor God S .

P w was f ri of eter, hereby he able to de y the int gues

a n d a e n his rivals advers ries, and to repress the pe w la tion s of his subordinates . He took up the ork

to e projected by others, and endeavored restor

: 2 I H E L 3 M C A E L A N G O.

f W P e . e r the tomb o St. et r cannot ascertain whe e he acquired the great mathematical kn owledge

al essenti to this work, unless perchance it was during his exile among the marble mountains ; for he certainly had no such privileges in his youth, and the architecture of his maturer years is defee w tive in man y ays .

’ Late in 1 54 7 Duke Cosmo de Medici offered to

A S of i make ngelo a enator Florence, and to g ve ff w if him any other o ice which he might ish, he u would ret rn to the Tuscan capital, and complete

an d his abandoned works, undertake certain new i ones . But th s invitation was declined, since too many and great enterprises were under way in V Rome . olterra reported, some years later, that he absented himself from his beloved Florence

of t of e x e ri only on account the quali y the air, p ence having taught him that it was inimical to his n ature on account of its sharp and subtile natur e 3 while the softer and more tempered climate of Rome kept him in good health up to his ninetieth

w t his f as f year, i h all aculties per ect and vigorous ” s a they ever had been .

ma of The venerable ster, tortured with the pains

his ff disease, still kept at work on the sca olds in the TH E P A ULI NE H A P L I C E . 3 3

P l C t to V s r t t au ine hapel, al hough he wrote a a i ha it

f t u for it t f s . cost him much a ig e, appears hat re co

) 7 a r t for old E l painting is not an men . ar y in 1 5 49

“ r t L : he w o e to eonardo , saying I have been very ill r n w t u to s , g oani g all night i h pain, nable leep ,

t is s without rest . The doctors tell me tha my d ea e

o f . is stone . I have need f help rom God Tell

for for if sa w Francesca to pray me, she how I am she would know that she has a companion in i misery . Otherw se I am like a man who is not 2’ i yet quite thirty yea r s of age . Later in the spr ng he was greatly relieved by drinking a certain water f f f brought rom a spring orty miles rom Rome, and

“ r : W t tt w ote i h regard to my disease, I am be er 3

n ow t t of a ll and here is hope, to the astonishmen ,

for to i . I was thought be dy ng, and so I believed

I have had a good physician, but I believe more in f f the e ﬁcacy o prayer . The frescos in the Pauline Chapel were ﬁnished

1 ft i u in 5 49, seven years a er their beg nning, d ring which period there were many long intermissions of labor and diversions to other duties . The sub

e c t P u th e C j s are th e Conversion of St. a l and ruci n x ion of St P t t f of l . e er . The las rescos Michae A n gelo c a n only be spoken of with re spect an d I I 34 M CH A E L A N GE L O.

f . orbearance Indeed, they have been so disﬁgured by neglect and restoration that it is impossible to imagine what their original colors were . The Pope summoned A ngelo to explain certain

’ a f P of lleged de ects in St. eter s which the deputies i complained, especially as to the deﬁcient l ght in

’ the King s alcove, and the master demanded to

C n M hear the complainers speak . ardi al arcello

for A answering them, ngelo rejoined and made a f C satis actory explanation , at which the ardinal showed his surprise at not having before been ih f f : ormed . But the earless architect replied I am not, nor will I consent to be , obliged to tell, to E Your minence or any one else , what I ought or w f n ish to do Your o ﬁce is to bri g money, and

f i n of guard it rom th eves, and the desig ing the f ” P building is le t to me . Then he said to the ope

: if Holy Father, you see what I gain these f i w at gues hich I endure do not beneﬁt my soul, I

’ I l o . P se both time and labor The ope, who loved

: him, laid his hands on his shoulders, and said

s You beneﬁt both oul and body : do not doubt .

L e P P . ate in the sam year ope aul III died, and wa s a P . s succeeded by ope Julius III , who was a rdent an admirer of the gr eat sculptor as his pre

1 6 3 MI CH A E L A N GE L O. proof against slander, a n d fa r less sensitive than in his earlier years .

’ 1 A C of A s In 5 5 3 scanio ondivi, one ngelo

of t pupils, published a biography his master, wri

r t of e ten in g eat haste , to anticipate o her works lik

fu of of character, but ll interest on account its ’ t t f h V author s in ima e knowledge o is subject . asa

’ ri s gr eat biographical work on all the Italian artists

1 0 t f - ﬁve had appeared in 5 5 , con aining orty pages a A n f . bout gelo, who . had been his ormer master

’ The sculptor acknowledged Vasari s work by a n affectionate sonnet . Condivi thus described the master ’ s personal

: Of w appearance at this time middle height, ith broad shoulders and thin legs, having a large head,

f th e of his a ace small in proportion to size skull,

ar f f - a squ e orehead, ull temples, high cheek bones, and a n ose made ﬂat by the ﬁst of that beast

l ma n . y and proud , Torrigiano His lips are thin , w and the lo er, being the larger, appears to pro w f . trude slightly , hen his ace is seen in proﬁle His

a r e t eyebrows sparse ; his eyes small, gray, spo ted w w t ith yello and blue ligh s, and ever varying 3 his h t w t air, once black, is s reaked i h gray, as is his

’ n f f thi orked beard, which is our or ﬁve ﬁngers A TR UE A SS IS TA N 1 T. 3 7

” f breadth in length . This ace is reproduced in .

t D of Vol. eight au hentic portraits, namely, aniele

’ terra s bronze bust and a face in his fresc o o f th e

’ ’ A t L Ve n ut ssump ion, eone s medal, a head in s i s

‘ ’ of L t t t Ve copy The ast Judgmen , a por rai by

’ i t f s Buon a son i s nust , a posthumous bus rom a ma k,

v t tt t engra ing, and ano her engraving a ribu ed to A ngelo himself.

P . I ope Julius III died in 5 5 5 , and was suc

‘ c e e de d (after the brief reign of Pope Marcellus ff . C C r th e of II ) by ardinal a a a, who took name

V P ﬁ A t P I . t aul aul con rmed the rchi ect of S .

’ P t for w eter s in his posi ion and authority, hich he h t Du n ow believed he a d a divine lega ion . ring

’ A n Am the same year, ngelo s beloved assista t , adore

“ of Urbino, died, and he wrote He has been w w - f u ith me t enty six years, and I o nd him loyal

fai f n ow and th ul 3 and that I have made him rich, an d that I expected him to be the staff and rest of h a s s f my old age, he vani hed rom me, and no f ft s e e P s . O hope is le me, but to him in aradi e t i Si In his t his, God has g ven me a gn happy dea h, and that it grieved him to leave me to live in this t w t its r fa r reacherous orld, wi h many so rows, more ” Giova n e i t han to die . Simone Buonarroti di d n 1 8 I CH A E L 3 M A N GE L O.

1 8 A n in 1 54 , deeply mourned by gelo 3 and 5 5 5 his a r a n t S l st em ini g bro her, igismondo , also died,

ft ar f f a er a long and arduous milit yli e, ollowed by

f of f S a ew years repose on his arm at ettignano .

A n l w r f gelo was ﬁl ed ith g ie by these deaths, and wr ote appealingly (but without avail) to Le o

u for s e e nardo It wo ld be dear me to you, but I kn ow not h ow your love of your wife would per mit i “ you to leave Florence 3 and aga n , I am w f ” old, and I ish to see you be ore I die .

The Medici Duke of Florence n ow renewed his

A a l petitions to ngelo to return to the Tuscan capit , and even sent his Chamberlain to Rome to make

mun iﬁc e n t ff n him o ers ; but the master decli ed, though moved by the warmest gratitude, saying “ You must see by my handwriting that I touch

tw - f the enty ourth hour, and no thought is now born in my mind in which death is not mixed . God grant that a fe w years of labor may yet be ” mine 1 A bout th e year 1 5 5 7 the Duke of Flor

t A ence visi ed ngelo in Rome, and had a long and

f a i w . miliar conversat on ith him His son , also, P rince Francesco , paid his respects to the master, a n d showed his reverence by speaking to him with un covered head .

M I CH A E L A N GE L O.

Th e on e we ll-kn own th e oth e r th r e a te n in l oud , g ,

Not th e e r s t wors hipp e d A r t ca n n ow give p e a ce

To him wh os e s oul tun s to th a t L ove Divin e r ,

h o h a i r m th r s W se a rms s ll lift h m f o e C o s to H e a ve n .

In I 5 5 6 the Pope determined to destr oy the

of S S inﬂuence pain in Italy, whereupon his tates w D of A ere invaded by the uke lva, whose light

lr ar f cava y soon appe ed be ore the Roman gates . The devout Duke respectfully defeated the army which the Pope had blessed and sent against

t him, and wi h great courtesy checked the anti P ’ t t. Spanish in rigues . The works on S eter s lagged during these excitements, and the architect, who

of of had already seen enough the horrors sieges,

f for f le t Rome orty days, intending to make a reli gious pilgrimage to Loreto 3 b ut he went no farther

S w n than poleto, here he enjoyed a delicious seaso of V repose, which he thus described to asari I

of have lately had, at some cost money and f u of S o atig e, a great pleasure in the mountains p

t of leto , in visiting those hermi s, so that but a part me has returned to Rome 3 for in truth peaceful ” existence dwells in those woods . This is the only dir ect compliment which Michael A ngelo ever paid to Nature . A 1 1 TUS C N COM PLIM E N TS . 4

Cosmo de ’ Medici was still urging A ngelo to

tu s to ft re rn to Florence , and he promi ed do so a er t P t ’ w th e works on S . e er s ere a little further

v s t of ad anced, explaining the neces i y his remaining

n ow ff yet a year longer . He was su ering from th e

th e t f b ut l gout, stone , and o her a ﬂictions, stil kept

t sup s a n d his place as the ac ive designer, ervi or,

of il t a ll th e soul the basilica, and vig an ly remedied

s P errors of his subordinate . The ope courteously in tervened between his architect and th e Duke of

Florence, and persuaded the latter to curb his ardent desire to summon back the gr eat Tuscan

’ 1 C t artist . In 5 5 9 atherine de Medici wro e to

A n for f gelo , entreating him, by his love her amily, to ma ke a design for a colossal bronze equestrian

- f t t of . o por rait sta ue her late husband, Henry II

- D e to . France, be placed in her palace court ani le

V t n z d a. t ol erra at ended to the casting in bro e, and th e horse was ﬁnished before he died 3 but th e statue of th e rider had not been commenced .

Afterwards a statue of Louis XIII . was placed

th e th e P upon horse, and set up in lace Royale ,

P r h at aris, where it was destroyed du ing the Frenc u Revol tion .

’ A ngelo s powers as a painter and a sculptor were 1 2 4 M I CH A E L A N GE L O. n ow a n d l r w in tc in abeyance, all his sou was th o n his u st architect ral studies, in preparing the greate

of su triumph modern constructive genius . The b

f t P ’ f m o S . lime dome eter s took orm in his ind,

f r and he had a wooden model thereo made , nea ly f seventeen eet high, so that his successors might

” r have no excuse fo deviatin g from his plans . The

n d f desig inclu ed three domes, rising rom the same

tri — base concen cally, the inner one duplicating

of P that the antheon, the second supporting the

of lantern, and the third or outer one ( wood) to

of give majesty to the exterior the basilica . The

tu C of architec re was orinthian , and a coronal statues of saints surrounded the base of the outer f uv . o c r e In spite all precautions, however,

’ A n gelo s successors seriously impaired the grand

of t n eur his plans by omit ing the in er dome , constructing the two others of brick (boun d with

n the iron chai s at the weak points) , and omitting

W A e n great circle of statues . hile ngelo was

tu for gaged on the building, his orders were to s dy

r m magniﬁcence and g andeur, rather than econo y 3 a n d the expense of the works under his a dmin is d tra tion was nearly ducats . He was aske f n e w i the dome would surpass that at Florence ,

1 44 M I CH A E L A N GE L O. sign his position rather than to submit his plans to a mere ﬁnancial committee .

’ A mong the minor works of A ngelo s old a ge were several designs for the National Church of th e

l or e n tin e s for i w of th e La u. F at Rome, the sta r ay

L for of rentian ibrary, and the monument the Mar

of C . al quis Marignano , in Milan athedral He so f for of urnished plans several the Roman gates, P IV which ius . wished to rebuild with greater mag

iﬁc e n c e of P Pia n . The best these was the orta ,

P . which was subsequently restored by ius IX , and was badly shattered by the Italian bombardment in

0 A n r w 1 8 7 . other st ucture designed at this time a s

Sf C of S the orza hapel, in the Basilica anta Maria

h t D P . Maggiore, w ich ella or a completed

In 1 5 6 1 A ngelo ﬁnished one of his chief archi

ura l of t te c t of C S . works, the erection the hurch

of A C r Mary the ngels, and a a thusian monastery, f f amid the ruins o the Baths o Diocletian . The

f f of r chie eature these ruins was a g eat vaulted hall, with splendid monolithic columns of red E gyptian granite 3 and this the venerable architect converted

f of n into a church , a production then ull harmo y

t u Va n and beau y, but in a later age disﬁg red by

’ vit lli -C n e s alterations . The convent loisters adjoini g 1 THE LA S T PIE TA . 45 th e church ar e e mbellishe d with a hundred light a n d r f o um a n d u n ou w g ace ul c l ns, s rrou d a c rt hose sparklin g foun tain is shaded by sombre cypresses . There is a tradition that A n gelo himself plan ted

r e r n ks a n d f these t e s, whose huge t u majestic rond age form such a conspicuous orname nt in the old

ce n ve n t.

In 1 5 6 1 the master reme mbered his debt to th e Piccolomin i family for n on - fulﬁlme n t of contra ct to

e r n for e a t S a nd carv ce tai statues their chap l iena, ma e a fo A of S n d rep ration there r, the rchbishop ie a

i a s a r o in the te act ng bitrat r mat r.

' ’ A n gelo s last work in sculpture wa s a group of th e V r in C w iro t i g and the dead hrist, ith t o her

ue a ll r r h n f n of e ﬁg r s, la ge t a li e, one which, xcept th e ChriSt r e n e n n , we e ev r ﬁ ish d . He i te ded that this group shoul d be placed on a n alta r over his own n ow in th dr of tomb, but it is the Ca e al Flor e e Wa s th e i n of r nc . It occupat o his leisu e hours for m n ar f n h a y ye s, o tentimes at ig t, when he rose

' from his couch of un r est to labor in solitude a n d s n ile ce . In 1 563 A n gelo wa s electe d Vice -Pr es ide nt of th e or n in Acad e of n A s Of ch Fl e t e my Fi e rt , whi

’ C o wa s f a n d P n osm de Medici the ounder reside t. I 6 I H 4 M C AEL A N GE L O.

Cosmo ordered th e Floren tin e ambas sador at

' Rome to look out that the ven erable a rtist was we ll ca red for ; a n d his family a n d fri en ds sen t him

i f n fre que n t g fts of win e a n d ruits . Ma y devoted fr n o an d m n a n s a o ie ds visited his h use, a y ssista t ls , who bore for him a ﬁlial love .

’ In the win ter of r 5 63- 4 th e ma s ter s stren gth fa il n a a k of ain f ed rapidly, u der the tt c s his p ul

In r he f mal a dy. Februa y elt that the e n d wa s

d n t f r f n D ‘ a n a n o a n e e of . pproachi g, se his rie d i l

Vo ra wh o o w him A sc a n o on lter , br ught ith C divi,

’ d Da n A n o a n o . e m gel s pupil bi grapher iel , y ” “ f n h e is o w me I e n rie d, cried, it all ver ith ;

H e a a ' r tr e a t youn ot to leave me . dict ted lette to Le on a o on a ot hi D o e ' Le on i rd Bu rr i, w ch i med e n o in a n o t n f n th e cl sed ther writ e by himsel , urgi g

n in t n om Flore t e o ha ste to R e .

’ A n o a n him o a n d gel s physici s watched cl sely, his Roman frien ds staid with him con tin ua lly ; while th e slow fever un dermin ed the cita de l of

fe n th e I th of ar h e n e n de a v li . O s Febru y, vai ly o e d to a ke his a n in e his e a d r t usu l eve g rid , but h a n d e s e e too w ak a n d he e r d to his l g w r e , r tun e ,

c a b th e ﬁr e s e . H e fus to a ke to his h ir y id , re ed t

: 8 4 M I CH A E L A N GE L O.

Holy A postle s: But Leon a rdo Buon ar roti se c retly

m e a n d o of m ar re ov d it, the b dy the great aster

in n f of i e r rived Flore ce a ter an absence th rty y a s,

i d u a of n i n si n to sg ised as bale mercha d se, co g ed

‘ un n i a n a c on Vasari . On S day ght the Tusc rtists

to C of S n a C in a h : ducted it the hurch a t roce, torc i o on f w a n n of l ght pr cessi , ollo ed by m y thousa ds citizen s ; a n d in the church the remain s we re

fri n n l a s if viewed by all the e ds, appeari g stil

So n o l a sleep . me days later mag iﬁcent mem ria se v in C u of Sa n Lo n z o r ices were held the h rch re ,

D a n d i a n d A ca de by the uke his court, the art sts mic ia n s a n d o me n a n d a f th e , ther eminent , ter r equiem mass Ben edetto Varchi delivered a ﬁme ral

' wa s w o oration . The church ﬁlled ith rare dec ra

n of ain n a n d u oun d n a tio s p ti gs statuary, s rr i g

fal ﬁft -f f A ll th e in cata que y our eet high . shops

n a n d n s e ow Flore ce were closed, imme cr ds sur

a z roun ded S n Loren o.

n n ow S n a C o e the Pa n His remai s rest in a t r c ,

on W m n A of al n r the the , the est i ster bbey It y, ea mon n of D n - Alﬁe ri hi l a e o ume ts a te, , Macc avel i, G lil ;

uin Filic a ia a n s me n Th e C d ri . her b i, , other illu t ous 5 me D a n d L n ar o mon u n t e recte d . b y the uke eo d

' ’ Buonar oti s a dome d ' ' of Pa in n r i b y statues ti g, CRI TI I M r C S S . 49

S u r Ar of hi c lptu e, and chitecture, and a bust m w m V a a o ma n ho as ri called Th t m st holy old , ” who of ur ar was the light o ts .

“ La n z i use s these words : A s Dante made choice of fﬁ materials very di cult to be reduced to verse, and from an abstruse subject extr acted the praise of n sublimity and gra deur, in like manner Michael A ngelo explored the untrodden path of design a n d s i w of , in pur uing it, d splayed po ers execution

his s at once scientiﬁc and magniﬁcent . In work

f un man assumes that orm, which, according to Q i

il n x fore sh ort t ia , Zeu is delighted to represent . His e n in gs and his attitudes a r e most daring ; his expression full of vivacity and energy . Grimm says A ll Italians feel that he occupies t the third place by the side of Dan e and Raphael . a n d forms with them a triu; n vira te of the greatest men produced by their country, a poet, a painter,

Who w l a n d one who was gr eat in all arts . ou d place a general or a sta tesman by their side as equal to them ? It is art alone which marks the f prime o n ation s . : 0 I H E 5 M C A z A N GE L O.

Sa ys Ta irre i The re ar e four me n in the wor ld of ar t an d of ’lite rattIr e e x al a o r ted b ve all othe s, and to such a degr ee as to s ee m to belong to an other

n D S ar a n d race amely, ante, hakespe e, Beethoven ,

An f e h is - Michael gelo . [Be or master work in the Sistine Chapel] we cease to feel the abuse of a rt the aim' a t ffe n on of ma n , e ct, the domi ati n e rism : of D we only see the disciple ante , the f e of Sa von th e r e olus e f n s f on ri nd arola, , eedi g him el the of the Old the menaces Testament, the patriot,

love r f ic wh o ar stoic , the o just e be s in his heart the

r f of a n d wh o e ds f of g ie his people, - att n the uneral

al a wh o r e r It i n liberty, one , amidst degraded cha act a n d n e e al s vi a n d dege rat minds, one ur ves daily b co sadd his l it o of e mes er, soul ﬁl ed w h th ughts the sume u e a n d s n f n to the p re J dg , li te ing be oreha d thunders of th e las t day .

Mic/rel ?) c/ze mor ta l A n r a l divin . y g g A mos r o

l 2 I H A E 5 M C L A IVGE L O. of th e De osition f om th e Cr os s M a don n a a n d Child p r ; ,

- — 1 2 H ol Fa mil . Ca th e dr a l Th e Pie ta un ﬁn 49 94 ; y y , (

- — s h e d 1 60 . S a n L or e n z o M e dice a n Ch a e l Th i ), 545 ( p ), e

’ Tomb s of L or e n z o a n d Giulia n o d e M e dici 1 20— th e , 5 34 ; — Vir in a n Child . B ohe l i Ga r de n s F our s ta t h g d , ue s of t e

Pri s on e r s (un ﬁn is h e d) . — — ROME S t. P e te r in Vin col i M os e s b e un in 1 1 , , g 5 3 ;

’ m A n l i Ra ch e l L e a h a n d wo ks f o e o s de s n s . S a n ta , , r r g g

' ’ — u r i t Ma r ia S o r a M n e r va e s s Ch s I 2 1 . S t. P e te r s p , J , 5 — Th e Pie ta 1 8 . Fe vol i P a l a ce Rus s ia n Le a tion , 49 99 ( g ), Th e De p os ition fr om th e Cr os s (un ﬁn is h e d) ; th e S a viour

(un ﬁ n is h e d ) u BOLOGNA . S a n D ome n ico Ch r ch A Kn e e lin A n e l , g g ,

us 1 . 1 t. Pe t on i 495 S r , 495

I a th dr a l ta tue s r ul e S E NA . C e S s of St . Pe te Pa G , , , r g or Pius a n d F a n cis Ch r is t a n d A n e l s y, , r ; g

o E N A . os ita l o th e P oor Ba s r e lie f o th e G O H p f , f

Pie ta Ch r is t in th e Ga r de n .

— s — m ll b a s -r e lie f of PA RMA . A ca de m o F in e A r t S a y f , th e De p os ition from th e Cr os s . — us e um Bus t of Pa ul III. NA FLE S. Ro a l M y ,

’ m l in H e r cul e s MA NT A . Vir il za n A ca de S e e U g y , p g

a t f h e Pr is on e r s. PA RIS. Th e L ouvr e , Two St ue s o t

- — h ur ch Vir in a n d Chi l d U E S. otr e D a me C BR G N , g

- 1 500 03 . — — T E TE RSB U RG. A ca de m A Ca r a tide . S P y , y

— outh - e n sin ton Muse um Cu id 1 - 8 ONDON . S K g , p , 497 9 ; A Bus t of a La dy ; a n d thirte e n mode l s in wa x a n d te rr a

Ro a l A ca de m Ba s-r e lie f of th e Vir in a n d cotta . y y , g — Chil d 1 00 0 . , 5 4 I 1 L S T OF P A IN TIN GS . 5 3

PA INTINGS.

ITA LY .

F LORE NCE . U iz i Ga ll e r Th e H ol Fa mil . P itti ﬁ y , y y

a l a ce Th e Th r e e Fa te s . B uon a r r oti Ga l l e r Th P , y , e P H oly F a mily a n d Sa in ts ( ) . — ROM E . Va tica n P a l a ce , Th e F r e s c os of th e Sis tin e

n Pa ulin e h a e l s a d C p .

us NA PLE S. Ro a l M um Two Ca toon s k ch of y e , r ; S e t th e La st Judgme n t.

Th e Fl a e ll a ti . MA DRID . g on of Chr ist

- — LONDON. 1Va tion a l Ga ll e r Th e Ta un t n Ma d n n a y , o o ,

- 1 492 96 ; th e E n tomb me n t of Chr ist.

A RCH ITE CTURE .

ITA LY . — F LORE NCE Th e L a ur e n tia n Lib ra ry a n d th e Me dici

Ch a p e l .

’ — rn i h ROME Th e D ome of St. Pe te r s ; th e Co ce of t e

h r Fa r n e s e Pa l a ce ; th e Porta Pia ; t e Be l ve de e Sta ir wa y. — h r a a . GE NOA . Th e B a lb i Pa l a ce ; t e A lb a o P l ce

— n uild Th e La n f r a n chi Pa l a . A n d ma othe b PISA . ce y r i in gs a n d p a rts of b uildin gs n Ita ly.

I 6 5 INDE X .

F cia ure ra n . Na t m lim , 47 Co p e n te d , : 40 . F ra n cis 8 1 06 1 0 N i h t 0 4, , 9. g 95 . e ra l 1 8 -W Fun . Ni h t ik 1 2 , 4 g o , 8 .

Ge n e a lo 1 2 . Pa a l A r gy , 3 p my , 43 . Ge n tile da F a b ria n o 8 a te r i a l A dvice 26 , 7 . , . Ghib e rti 8 gn ul iii 1 , 7 . 9 34. Ghirl a n da o 1 0 Pa ul IV 1 j , . . , 37. G mma r-Sc h l Pa ulin e h a l 0 1 ra oo . C e 1 1 0 1 , 9 p , 5 , , 33. Gra n a i 1 1 0 P i cc , 9 , , 5 . e rug n o, 59 . Gr imm te d 1 Pe rson a l A e a ra n Q uo , 49 . pp ce , 1 36 . Pe tra rch 1 1 1 , 7 , 9 . e r s 1 Pic l a r H c ule , 8 . co omin i, C din a l , 26 . e r s a n d ta 1 P ie a 2 H c ule Ce n ur s , 6 . t , 4, 1 45 . H o F a mil Dom 1 Pisa Ca rtoon f 2 ly y ( ) , 3 . , o , 3 . n Pius III 2 Humilia tio , 44 . . , 6 . Pi IV 1 us . , 43 . liu II 2 Poe ms 1 1 1 20 u s . 6 8 1 , 34, 4 4. , , , 39. I 1 Pole a r a l 1 1 ulius II " 34. , C din , 3 . Politia n 1 , 4, 1 5 . Kn 2 Pon rmo 1 e e lin g A n g e l , 1 . to , 43 . Por ta De lla 1 2 , , 4. t 1 Por ta Pia La n z i Q uo e d, 49 . , 1 44. Pr e cocit 1 La ocoOn , 37l. y , 1 .

L a s ud me n t Th e 84 0 . P r is on e r s h e t y g , , 9 4 , T , 66 . La ur e n Lib ra r 8 0 tia n y , . L a h 1 0 w d 1 0 e , 7. 7 . L e d a 6 8 ﬁa ﬁa el 8 2 , 8 , 8 . p . 4 . 5 . s9 7 49 X 1 6 Re a l E s ta te 1 2 1 Le o . . 4. 4. 74. , .

R f . e volt o Flore n ce , 8 1 - Ria r i r n a l 2 2 2 M a d n n a h a s re lie f 1 8 o Ca di . o , , . , , , 3 B r u e s O Riccio Lui i de l 1 06 1 26 g , 3 . , g , , . r e lie f 0 Ris e n Ch r is t , 3 . , 75 . a n Roma n Ca it l 1 0 T un to , 1 8 . p o , 4. M a n f W r k 1 2 Roma n Domicile s 6 1 2 n e r o o in g , 9 . , 3 , 65 , 4. ' a s a i s F s s 1 6 Rome Firs t Vis xt 2 M c c o re co , . , to, 3 . ’ ' M e drc x A le x a n de r de Rose lli s Le tte r 0 , , 97. , 4 . ' a C th e rin e de , ’ m 2 6 S t 2 1 Cos o de , 1 , 6 . . . ’ ' ke m e 1 2 1 1 St L re n z s hu h Du Cos o d , 3 , 1 38 , 4 , . o o C rc , 66 , 08 . 1 St M a r f th e A e ls 1 46 . . y o n g , 44 . ’

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