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In Colour Edited by R Leman Hare

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In Colour Edited by R Leman Hare I N C O L O U R E D ITE D B Y r L E M A N H A R E RA P H A E L I N TH E S A M E S B tS I A UT H OR A RT ST. V & . B E NS US A N . ELA QUE&. S L Y S B E NS US A N. RE N O LDS . L T R R . LE W I S H x N D. U NE . C . LE W I S H x N D R OMNEY. C & AL RE A C KLI N . GREU E . YS EY M ENR I NN . O I LI . B TT CEL . H Y B B S Luu a N P i sS A R Ro. ROSSETT I . H A Y . BELLI N I . GEORG E FR A A I O AM E A ON . NGEL C . J S M S R RA & L . EMB NDT. JOSE ISRAE S I O A LY s AL R LE GHT N . B D Y KO N ODY RA PHAEL PA U L G . H AR . OLERI G E. H OLMAN U NT. M Y E C D TI I A B E N S US A N T N . S . L. A LYS . MILLAI S . BALDRY Y CARLO D OLCI GEORG E H A . A I ORO MA x R or u s mw G NSB UGH . c . ’ ' TI NTO RE I I O. B E NS S A N S L U . M . LU IN I . JA ES MASON F RAN& H ALS . E DG CU M E E S T ALEY. VAN Y K. T N . D C PERCY M. UR ER I n P reparation W T . W I R T. u ms 0 H S LE M 00 . W O AR O A VI I . RO E LE N D D NC . M . B C K W LL . R . B E N UBENS S L S US A N . - R ON . A Lv AL R BU NE J ES . s B D Y. F . MI . PER M . RNER J LLET CY T U . A R I . PA UL . Ko uonv CH D N G . F RA O AR . AL ANE MA A G N D C H D CF LL. O I . B E NS US A N . H LBE N S . L . B O R . H A LDA NB M A C F A UCHE C. LL. VI GEE B R . A A NE M U . L A F LE N C H D C A LL. W A A EW I H um . TTE U . C. L S M I B N R O. L. E S US A K . U LL S. AND Ornz ns. PLA I — TH E A N I DE I ADO A o is c TE . S M NN . &Fr nt pie e) B e o c Ra hael this o tter than any ther pi ture by p , imp rtant altar ’ c o coc o o e o i s pie e sh ws the pre i usness f Raphael s g nius, f r t wa 1 06 m sc e painted at Perugia in 5 , when the aster had arcely pass d - i H e e into the twenty th rd year of his life . had then &ust return d ence o A nsidei from Flor , but, probably t humour his patrons , the i e i c o n o o m e fam ly, he r verted n this pi ture nce agai t the f r al mann r “ ” o eco u i o. The A nsidei o f his s nd master, Per g n Mad nna has the distinction of being the most costly picture at the National Gallery —itwas purchased in 1 885 from the Duke of Marlborough for LIS T OF I LLU S TRATI ONS Plate Ma a 1. The Ansidei donn I n the N ional G aller London at y, 11 The Madonna del G ran Du . ca I n the Pi i Pala F ren tt ce, lo ce III . The M adonna della S edia I n the Pi i Palace F lorence tt , IV. La B elle Jardiniere In the Louvre V. The M adonna of the Tower I n the Na ional all r t G e y, London VI u i . Pope J l us I I . I n the U ffiz i all r l G e y, F orence VI I . Putto with G arland m I n the A cadem f t. Lu a Ro e y o S c , V III . Portraitof R aphael I n the Umzi G all F o ence ery, l r I N D I tell you that to paint one beauti A ful woman, I should need to see several beautiful women, and to have ” you with me to choose the best, wrote f Raphael, then at the zenith o his fame to - and good fortune, his life long friend — Count Baldassare Castiglione, who the 9 I O RAP HAEL ideal courtier himself— has given the world that immortal monument of Renaissance culture, the Book Of the Courtier. In pen ning these lines the prince Of painters intended, perhaps, no more than a pretty compliment to one who was himself a model Of courtesy and graceful speech , but the words would gain deep significance ic tu re wom a n if p were substituted for , and if Castiglione were taken to signify the personification of intellect and learning. ’ of a For the beauty R phael s art, which in the course of four centuries has lost none Of its hold upon the admiration of mankind, is distilled from the various elements of beauty contained in the art that had gone before him and was being created around him ; and in choosing the best, at least as far as idea and conception are concerned, he was guided by the deepest thinkers and keenest intellects Of what were then the ’ of world s greatest centres culture. RAPHAEL I I Raphael was, indeed, born under a happy constellation . He was not a giant - of intellect, nor an epoch making genius ; Of as Michelangelo said him, he owed his art less to nature than to study ; but he was born at a time when two centuries of gradual artistic development had led up to a point where an artist was needed to gather up the diverging threads and bring the movement to a culmination, which will stand for all times as a standard of perfection . Advantages Of birth and early surroundings, charm Of appearance and disposition which made him a favourite wherever he went, receptivity, adaptability, a and application, and bove all an early and a easy m stery of technique, were combined in Raphael to lead him to this achievement . The smooth unclouded progress of his life from recognition to fame, from prosperity f to a fluence, is not the turbulent way Of genius . Genius walks a sad and lonely 1 2 RAPHAEL path . Michelangelo, the turbulent spirit, morose and dissatisfied, Lionardo da Vinci, pursuing his high ideals without a thought of worldly success until his lonely Old age sees him expatriated and contemplating the fruitlessness of all his labours — these men of purest genius have little in common with the pliant courtier Raphael, the head him f f self Of a little court Of aithful ollowers . The story goes that Michelangelo, in the n bitter ess Of his spirit, when meeting his happy rival at the head of his usual army Of some fifty dependants on his way to the Papal court, addressed him with the words Y ou walk like the sheriff with his pos s e ” com ita tu s te . And Raphael, quick at “ e x ecu partee, retorted And you, like an i ner ff to going to the sca old . Whether the or ff anecdote be true not, it marks the di er ence between the course Of talent— albeit — the rarest talent and that of genius . What are the qualities of Raphael ’s art PL — TH E M DO DE L G R D UC ATE II . A NNA AN A T s c ff c i sim licitof i s s hi pi ture , remarkable for the e e t ve p y t de ign ’ o uritof V i s c iv s m b and f r the p y_ the irg n fa e, der e the na e ywhich it is comfnonlyknown from the fact that it was bought in 1 799 by D e n . wi o and e the Grand uk Ferdi and III from a poor d w, h ld by him in such esteem that he would never part from it and always took it with him on his travels . Atone time it was actually credited with the power of working miracles . It is one of the first ’ wo o o i e o ow s i i i rks f Raphael s Fl rent ne p ri d, and n hang n the P tt o c Palace, Fl ren e. 1 6 RAPHAEL scientific methods Of criticism have suc c eed e d in sifting the wheat from the chaff ’ — the master s own work from the factory like production Of his bottega— he has been f reinstated in all his ormer glory. Con ’ temptuous hostility to Raphael s art has ceased to be a fashionable pose .
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