BOOK III. (continued 2)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

We may now return to the original subject of our inquiry, examine the principles of the Roman School, and attend it to its latest epoch. Raffaello at all times employed a number of scholars, constantly instructing and teaching them; whence he never went to court, as we are assured by Vasari, without being accompanied by probably fifty of the first artists, who attended him out of respect. He employed every one in the way most agreeable to his talent. Some having received sufficient instruction, returned to their native country, others remained with him as long as he lived, and after his death established themselves in Rome, where they became the germs of this new school. At the head of all was Giulio Romano, whom, with Gio. Francesco Penni, Raffaello appointed his heir, whence they both united in finishing the works on which their master was employed at his death. They associated to themselves as an assistant Perino del Vaga, and to render the connexion permanent, they gave him a sister of Penni to his wife. To these three were also joined some others who had worked under Raffaello. On their first establishment they did not meet with any great success, for, as Vasari informs us, the chief place in art being by universal consent assigned to Fra Sebastiano, through the partiality of Michelangiolo, the followers of Raffaello were kept in the back ground. We may also add, as another cause, the death of Leo X., in 1521, and the election of his successor, Adrian VI., a decided enemy to the fine arts, by whom the public works contemplated, and already commenced by his predecessor, remained neglected; and many artists, in consequence of the want of employment, occasioned by this event, and by the plague, in 1523, were reduced to the greatest distress. But Adrian dying after a reign of twenty-three months, and Giulio de' Medici being elected in his place under the name of Clement VII., the arts again revived. Raffaello, before his death, had begun to paint the great saloon, and had designed some figures, and left many sketches for the completion of it. It was intended to represent four historical events, although the subjects of some of them are disputed. These were the Apparition of the Cross, or the harangue of Constantine; the battle wherein Maxentius is drowned, and Constantine remains victor; the Baptism of Constantine, received from the hands of S. Silvester; and the Donative of the city of Rome, made to the same pontiff. Giulio finished the two first subjects, and Giovanni Francesco the other two, and they added to them bassirelievi, painted in imitation of bronze under each of the same subjects, with some additional figures. They afterwards painted, or rather finished the pictures of the villa at Monte Mario, a work ordered by the Cardinal Giulio de' Medici, and suspended until the second or third year of his papal reign. This villa was afterwards called di Madama, and there still remain many traces, although suffering from time, of the munificence of that prince, and the taste of the school of Raffaello. Giulio meanwhile, with the permission of the pope, established himself in Mantua, Il Fattore went to Naples; and some little time afterwards, in 1527, in consequence of the sacking of Rome, and the unrestrained licence of the invading army, Vaga, Polidoro, Giovanni da Udine, Peruzzi, and Vincenzio di S. Gimignano left Rome, and with them Parmigianino, who was at this time in the capital, and passionately employed in studying the works of Raffaello. This illustrious school was thus separated and dispersed over Italy, and hence it happened that the new style was quickly propagated, and gave birth to the florid schools, which form the subjects of our other books. Although some of the scholars of Raffaello might return to Rome, yet the brilliant epoch was past. The decline became apparent soon after the sacking of the city, and from the time of that event, the art daily degenerated in the capital, and ultimately terminated in mannerism. But of this in its proper place. At present, after this general notice of the school of Raffaello, we shall treat of each particular scholar and of his assistants.

Giulio Pippi, or Giulio Romano, the most distinguished pupil of Raffaello, resembled his master more in energy than in delicacy of style, and was particularly successful in subjects of war and battles, which he represented with equal spirit and correctness. In his noble style of design he emulates Michelangiolo, commands the whole mechanism of the human body, and with a masterly hand renders it subservient to all his wishes. His only fault is, that his demonstrations of motion are sometimes too violent. Vasari preferred his drawings to his pictures, as he thought that the fire of his original conception was apt to evaporate, in some degree, in the finishing. Some have objected to the squareness of his physiognomies, and have complained of his middle tints being too dark. But Niccolo Poussin admired this asperity of colour in his battle of Constantine, as suitable to the character of the subject. In the picture of the church dell'Anima, which is a Madonna, accompanied by Saints, and in others of that description, it does not produce so good an effect. His cabinet pictures are rare, and sometimes too free in their subjects. He generally painted in fresco, and his vast works at Mantua place him at the head of that school, which indeed venerates him as its founder.

Gianfrancesco Penni of Florence, called Il Fattore, who when a boy was a servant in the studio of Raffaello, became one of his principal scholars, and assisted him more than any other in the cartoons of the tapestries: he painted in the gallery of the Vatican the Histories of Abraham and Isaac, noticed by Taja. Among other works left incomplete by his master, and which he finished, is the Assumption of Monte Luci in Perugia, the lower part of which, with the apostles, is painted by Giulio, and the upper part, which abounds with Raffaellesque grace, is ascribed to Il Fattore, although Vasari assigns it to Perino. Of the works which he performed alone, his frescos in Rome have perished, and so few of his oil pictures remain, that they are rarely to be found in any collection. He is characterised by fertility of conception, grace of execution, and a singular talent for landscape. He was joint heir of Raffaello with Giulio, and wished to unite himself with him in his profession; but being coldly received by Giulio in Mantua, he proceeded to Naples, where he, as we shall see, contributed greatly to the improvement of art, although cut off by an early death. Orlandi notices two Penni in the school of Raffaello, comprehending Luca, a brother of Gianfrancesco, a circumstance not improbable, and not, as far as I know, contradicted by history. We are also told by Vasari, that Luca united himself to Perino del Vaga, and worked with him at Lucca, and in other places of Italy; that he followed Rosso into France, as we have before observed; and that he ultimately passed into England, where he painted for the king and private persons, and made designs for prints.

Perino del Vaga, whose true name was Pierino Buonaccorsi, was a relation and fellow citizen of Penni. He had a share in the works of the Vatican, where he at one time worked stuccos and arabesques with Giovanni da Udine, at another time painted chiaroscuri with Polidoro, or finished subjects from the sketches and after the style of Raffaello. Vasari considered him the best designer of the Florentine School, after Michelangiolo, and at the head of all those who assisted Raffaello. It is certain, at least, that no one could, like him, compete with Giulio, in that universality of talent so conspicuous in Raffaello; and the subjects from the New Testament, which he painted in the papal gallery, were praised by Taja above all others. In his style there is a great mixture of the Florentine, as may be seen at Rome, in the Birth of Eve, in the church of S. Marcello, where there are some children painted to the life, a most finished performance. A convent at Tivoli possesses a S. John in the desart, by him, with a landscape in the best style. There are many works by him in Lucca, and Pisa, but more particularly in Genoa, where we shall have occasion again to consider him as the origin of a celebrated school.

Giovanni da Udine, by a writer of Udine called Giovanni di Francesco Ricamatore, (Boni, p. 25,) likewise assisted Sanzio in arabesques and stuccos, and painted ornaments in the gallery of the Vatican, in the apartments of the pope, and in many other places. Indeed, in the art of working in stucco, he is ranked as the first among the moderns,^[53] having, after long experience, imitated the style of the baths of Titus, discovered at that time in Rome, and opened afresh in our own days.^[54] His foliage and shells, his aviaries and birds, painted in the above mentioned places, and in other parts of Rome and Italy, deceive the eye by their exquisite imitation; and in the animals more particularly, and the indigenous and foreign birds, he seems to have reached the highest point of excellence. He was also remarkable for counterfeiting with his pencil every species of furniture; and a story is told, that having left some imitations of carpets one day in the gallery of Raffaello, a groom in the service of the Pope coming in haste in search of a carpet to place in a room, ran to snatch up one of those of Giovanni, deceived by the similitude. After the sacking of Rome he visited other parts of Italy, leaving wherever he went, works in the most perfect and brilliant style of ornament. This will occasion us to notice him in other schools. At an advanced age he returned to Rome, where he was provided with a pension from the Pope, till the time of his death.^[55]

Polidoro da Caravaggio, from a manual labourer in the works of the Vatican, became an artist of the first celebrity, and distinguished himself in the imitation of antique bassirelievi, painting both sacred and profane subjects in a most beautiful chiaroscuro. Nothing of this kind was ever seen more perfect, whether we consider the composition, the mechanism, or the design; and Raffaello and he, of all artists, are considered in this respect to have approached nearest to the style of the ancients. Rome was filled with the richest friezes, façades, and ornaments over doors, painted by him and Maturino of Florence, an excellent designer, and his partner; but these, to the great loss of art, have nearly all perished. The fable of Niobe, in the Maschera d'Oro, which was one of their most celebrated works, has suffered less than any other from the ravages of time and the hand of barbarism. This loss has been in some measure mitigated by the prints of Cherubino Alberti, and Santi Bartoli, who engraved many of these works before they perished. Polidoro lost his comrade by death in Rome, as was supposed, by the plague, and he himself repaired to Naples, and from thence to Sicily, where he fell a victim to the cupidity of his own servant, who assassinated him. With him invention, grace, and freedom of hand, seem to have died. This notice of him as an artist may suffice for the present, as we shall again recur to him in the fourth book, as one of the masters of the Neapolitan School.

Pellegrino da Modena, of the family of Munari, of all the scholars of Raffaello, perhaps resembled him the most in the air of his heads, and a peculiar grace of attitude. After having painted in an incomparable manner the history of Jacob, before mentioned, and others of the same patriarch, and some from the life of Solomon, in the gallery of the Vatican, under Raffaello, he remained in Rome employed in the decoration of many of the churches, until his master's death. He then returned to his native place, where he became the head of a numerous succession of Raffaellesque painters, as we shall in due time relate.

Bartolommeo Ramenghi, or as he is sometimes named, Bagnacavallo, and by Vasari Il Bologna, is also included in the catalogue of those who worked in the gallery. There is not however any known work of his in Rome, and we may say the same of Biagio Pupini, a Bolognese, with whom he afterwards united himself to paint in Bologna. Vasari is not prodigal of praise towards the first, and writes with the most direct censure against the second. Of their merits we shall speak more fully in the Bolognese School, to which Bagnacavallo was the first to communicate a new and better style.

Besides these, Vasari mentions Vincenzio di S. Gimignano, in Tuscany, to whom, as a highly successful imitator of Raffaello, he gives great praise, referring to some façades in fresco by him, which have now perished. After the sacking of Rome he returned home, but so changed and dispirited, that he appeared quite another person, and we have no account of any of his subsequent works. Schizzone, a comrade of Vincenzio, a most promising artist, shared the same fate; and we find also, in the Bolognese School, Cavedone losing his powers by some great mental affliction. Among the subjects of the Vatican we do not find any ascribed to Vincenzio, but we may perhaps assign to him the history of Moses in Horeb, which Taja, on mere conjecture, ascribes to the bold pencil of Raffaele del Colle, who was employed by Raffaello in the Farnesina, and in the Hall of Constantine, under Giulio. Of this artist and his successors we have spoken in the first book, where we have made some additions to the account of Vasari.

Timoteo della Vite, of Urbino, after some years spent at Bologna in studying under Francesco Francia, returned to his native city, and from thence repaired to the academy which his countryman and relation Raffaello had opened in the Vatican. He assisted Raffaello at the Pace, in the fresco of the Sybils, of which he retained the cartoons; and after some time, from some cause or other, he returned to Urbino, and there passed the remainder of his days. He brought with him to Rome, a method of painting which partook much of the manner of the early masters, as may be seen in some of his Madonnas, at the palace Bonaventura, and the chapter of Urbino; and in a Discovery of the Cross in the church of the conventuals of Pesaro. He improved his style under Raffaello, and acquired much of his grace, attitudes, and colour, though he always remained a limited inventor, with a certain timidity of touch, more correct than vigorous. The picture of the Conception at the Osservanti of Urbino, and the Noli me Tangere, in the church of S. Angelo, at Cagli, are the best pieces that remain of Timoteo. Pietro della Vite, who is supposed to have been his brother, painted in the same style, but in an inferior manner. This Pietro is, perhaps, the relative and heir of Raffaello, whom Baldinucci mentions in his fifth volume. The same writer affirms, at the end of his fourth volume, that the artists of Urbino included amongst the scholars of Raffaello one Crocchia, and assign to him a picture at the Capuchins in Urbino, of which I have no further knowledge.

Benvenuto Tisi, of Ferrara, or as he is generally called, Il Garofalo, also studied only a little time under Sanzio; but it was sufficient to enable him to become, as we shall notice hereafter, the chief of the Ferrarese School. He imitated Raffaello in design, in the character of his faces, and in expression, and considerably also in his colouring, although he added something of a warmer and stronger cast, derived from his own school. Rome, Bologna, and other cities of Italy, abound with his pictures from the lives of the apostles. They are of various merit, and are not wholly painted by himself. In his large pictures he stands more alone, and many of these are to be found in the Chigi gallery. The Visitation in the Palazzo Doria, is one of the first pieces in that rich collection. This artist was accustomed, in allusion to his name, to mark his pictures with a violet, which the common people in Italy call garofalo. It does not appear from Vasari, Titi, and Taja, that Garofalo had any share in the works which were executed by Raffaello and his scholars.

Gaudenzio Ferrari is mentioned by Titi, as an assistant of Raffaello in the story of Psyche, and we shall advert to him again in another book as chief of the Milanese School. Orlandi, on the credit of some more modern writers, asserts, that he worked with Raffaello also at Torre Borgia; and before that time, he considers him to have been a scholar of Scotto and Perugino. In Florence, and in other places in Lower Italy, some highly finished pictures are attributed to him, which partake of the preceding century, though they do not seem allied to the school of Perugino. Of these pictures we shall resume our notice hereafter; at present it may be sufficient to remark, that in Lombardy, where he resided, there is not a picture in that style to be found with his name attached to it. He is always Raffaellesque, and follows the chiefs of the Roman School.

Vasari also notices Jacomone da Faenza. This artist assiduously studied the works of Raffaello, and from long practice in copying them, became himself an inventor. He flourished in Romagna, and it was from him that a Raffaellesque taste was diffused throughout that part of Italy. He is also mentioned by Baldinucci, and we shall endeavour to make him better known in his proper place.

Besides the above mentioned scholars and assistants of Raffaello, several others are enumerated by writers, of whom we may give a short notice. Il Pistoja, a scholar of Il Fattore, and probably employed by him in the works of Sanzio, as Raffaellino del Colle was with Giulio, is mentioned as a scholar of Raffaello by Baglione, and, on the credit of that writer, also by Taja. We mentioned him among the Tuscans, and shall further notice him in Naples, where we shall also find Andrea da Salerno, head of that school, whom Dominici proves to be a scholar of Raffaello.

In the Memorie di Monte Rubbiano, edited by Colucci, at page 10, Vincenzo Pagani, a native of that country, is mentioned as a pupil of the same master. There remains of him in the collegiate church there, a most beautiful picture of the Assumption; and the Padre Civalli points out another in Fallerone and two at Sarnano, in the church of his religious fraternity, much extolled, and in a Raffaellesque manner, if we are to credit report. This painter, of whom, in Piceno, I find traces to the year 1529, again appears in Umbria in 1553, where Lattanzio his son, being elected a magistrate of Perugia, he transferred himself thither, and was employed to paint the altarpiece of the Cappella degli Oddi, in the church of the Conventuals, as we have already mentioned. According to the conditions of the contract, Paparelli had a share with him in this work, and he must be considered as an assistant of Vincenzo, both because he is named as holding the second place, and because he is reported by Vasari on other occasions, as having been an assistant. But as history mentions nothing relative to this picture, except the contract, we shall content ourselves with observing, that this praiseworthy artist, who was passed over in silence for so many years, still painted in the year 1553. Whether he was a scholar of Raffaello, or whether this was a tradition which arose in his own country in progress of time, supported only on the consideration of his age and his style, is a point to be decided by proofs of more authority than those we possess. I agree with the Sig. Arciprete Lazzari, when, writing of F. Bernardo Catelani of Urbino, who painted in Cagli the picture of the great altar in the church of the Capucins, he says, that he had there exhibited the style of the school of Raffaello, but he does not consider him his scholar.

It has been asserted, that Marcantonio Raimondi painted some pictures from the sketches of Raffaello, in a style which excited the admiration of the designer himself; but this appears doubtful, and is so considered by Malvasia. L'Armenini also assigns to this school, Scipione Sacco, a painter of Cesena, and Orlandi, Don Pietro da Bagnaja, whom we shall mention in the Romagna School. Some have added to it Bernardino Lovino, and others Baldassare Peruzzi, a supposition which we shall shew to be erroneous. Padre della Valle has more recently revived an opinion, that Correggio may be ranked in the same school, and that he was probably employed in the gallery, and might have painted the subject of the Magi, attributed by Vasari to Perino. This is conjectured from the peculiar smile of the mother and the infant. But these surmises and conjectures we may consider as the chaff of that author, who has nevertheless presented us with much substantial information. We shall now advert to the foreigners of this school. Bellori has enumerated, among the imitators of Raffaello, Michele Cockier, or Cocxie, of Malines, of whom there remain some pictures in fresco in the church dell'Anima. Being afterwards in Flanders, where several works of Raffaello were engraved by Cock, he was accused of plagiarism, but still maintained a considerable reputation; as to a fertile invention he added a graceful style of execution. Many of his best pictures passed into Spain, and were there purchased at great prices. Palomino acquaints us with another excellent scholar of Sanzio, Pier Campanna, of Flanders, who, although he could not entirely divest himself of the hardness of his native school, was still highly esteemed in his day. He resided twenty years in Italy, and was employed in Venice by the Patriarch Grimani, for whom he painted several portraits, and the celebrated picture of the Magdalen led by Saint Martha to the Temple, to hear the preaching of Christ. This picture, which was bequeathed by the Patriarch to a friend, after a lapse of many years, passed into the hands of Mr. Slade, an English gentleman. Pier Campanna distinguished himself in Bologna, by painting a triumphal arch on the arrival of Charles V., by whom he was invited to Seville, where he resided a considerable time, painting and instructing pupils, among whom is reckoned Morales, who, from his countrymen, had the appellation of the divine. He was accustomed to paint small pictures, which were eagerly sought after by the English, and transferred to their country, where they are highly prized. Of his altarpieces, several remain in Seville, and we may mention the Purification, in the Cathedral, and the Deposition at S. Croce, as the most esteemed. Murillo, who was himself a truly noble artist, greatly admired and studied this latter picture, which, even after we have seen the masterpieces of the Italian School, still excites our astonishment and admiration. This artist, to some one, who, in his latter years, inquired why he so often repaired to this picture, replied, that he waited the moment when the body of Christ should reach the ground. Mention is also made of one Mosca, whether a native or foreigner I know not, as a doubtful disciple of this school. Christ on his way to Mount Calvary, now in the Academy in Mantua, is certainly a Raffaellesque picture, but we may rather consider Mosca an imitator and copyist, than a pupil of Raffaello. In the edition of Palomino, published in London, 1742, I find some others noticed as scholars of Raffaello, who being born a little before or after 1520, could not possibly belong to him; as Gaspare Bacerra, the assistant of Vasari; Alfonso Sanchez, of Portugal; Giovanni di Valencia; Fernando Jannes. It is not unusual to find similar instances in the history of painting, and the reports have for the most part originated in the last age. Whenever the artists of a country began to collect notices of the masters who had preceded them, their style had become the prevailing taste; and as if human genius could attain no improvement beyond that which it receives subserviently from another, every imitator was supposed to be a scholar of the artist imitated, and every school, arrogating to itself the names of the first masters, endeavoured to load itself with fresh honours.

ROMAN SCHOOL.

EPOCH III.

The art declines in consequence of the public calamities of Rome, and gradually falls into mannerism.

After the mournful events of the year 1527, Rome for some time remained in a state of stupor, contemplating her past misfortunes and her future destiny; and, like a vessel escaped from shipwreck, began slowly to repair her numerous losses. The soldiers of the besieging army, among other injuries committed in the Apostolic palace, had defaced some heads of Raffaello; and F. Sebastiano, an artist by no means competent to such a task, was employed to repair them. This, at least, was the opinion of Titian, who was introduced to these works, and ignorant of the circumstances, asked Sebastiano what presumptuous wretch had had the audacity to attempt their restoration;^[56] an impartial observation, against which even the patronage of Michelangiolo could not shield the artist. Paul III. was now in possession of the papal chair, and under his auspices the arts again began to revive. The decoration of the palace of Caprarola, and other works of Paul and his nephews, gave employment to the painters, and happy had these patrons been, could they have found a second Raffaello. Bonarruoti, as we have observed, was engaged by the Pope, and gave to the Roman School many noble specimens of art, though he formed but few scholars. Sebastiano, after the death of Raffaello, freed from all further competition with that great artist, and honoured with the lucrative office of the papal signet, seemed disposed to rest from his labours; and as he had never, at any time, discovered great application, he now resigned himself to a life of vacant leisure, and Vasari does not mention with commendation any pupil of his school except Laureti.^[57] Giulio Romano was now invited back to Rome, and the superintendence of the building of S. Peter's offered to him, but death prevented his return to his native city. Perino del Vaga, however, repaired to Rome, and might, himself, have effected the restoration of art, if his magnanimity had corresponded with the sublimity of his mind. But he did not inherit the daring genius of his master. He communicated his instructions with jealousy, and worked with a spirit of gain, or to speak correctly, he did not paint himself, but undertaking works of more or less consequence, he allowed his scholars to execute them, often to the injury of his own reputation. He continued to secure to himself artists of the first talents, as we shall see; but this was done with the intention of making them dependant on him, and to prevent their interfering with his emoluments and commissions. But together with the good, he engaged also many indifferent and inferior artists, whence it happens, that in the chambers of the castle of S. Angelo, and in other places, we meet with so marked a difference in many of his works. Few of his scholars attained celebrity. Luzio Romano is the most noted, and possessed a good execution. Of him there exists a frieze in the Palazzo Spada; and for some time, too, he had for an assistant Marcello Venusti of Mantua, a young man of great talents, but diffident, and probably standing in need of more instruction than Perino afforded him. He afterwards received some instructions from Bonarruoti, whose ideas he executed in an excellent manner, as I have mentioned before, and by his aid he became himself also a good designer.^[58] Perino, by these means, always abounded in work and in money. A similar traffic in the art was carried on by Taddeo Zuccaro, if we are to believe Vasari; and by Vasari himself, too, if we may be allowed to judge from his pictures.

The actual state of the art at this period may be ascertained from a view of the numerous works produced; but none are so distinguished as the paintings in the Sala Regia, commenced under Paul III., and scarcely finished, after a lapse of thirty years, in 1573. Of these Vaga had the direction, as Raffaello had formerly had, of the chambers of the Vatican. He planned the compartments, ornamented the ceiling, directed all the stuccos, cornices, devices, and large figures, and all in the style of a great master. He then applied himself to design the subjects for his pencil, and was employed on them when he was carried off by death in 1547. Through the partiality of Michelangiolo, he was succeeded by Daniel di Volterra, who had already worked in stucco, under his direction, in the same place. Volterra resolved to represent the donations of those sovereigns who had extended or consolidated the temporal dominion of the church, whence the chamber was called Sala dei Regi, and this idea was, in some degree, though with variations, continued by succeeding artists. Volterra was naturally slow and irresolute, and after painting the Deposition from the Cross, which we have mentioned as being executed with the assistance of Michelangiolo, he produced no more of these prodigies of art. He had indeed begun some designs, but on the death of the Pope, in 1549, he was compelled, in order to accommodate the conclave, to remove the scaffolding, and expose the work unfinished. It did not meet with public approbation, nor was it continued under Julius III., and still less under Paul IV., in whose reign the art was held in so little respect, that the apostles, painted by Raffaello in one of the chambers of the Vatican, were displaced.

Pius IV., who resumed the work, on the suggestion of Vasari, in 1561, had intended to charge Salviati with the entire execution of it; but, by the intercessions of Bonarruoti, was at length prevailed on to assign one half of the apartment to Salviati, and the other half to Ricciarelli, though this did not contribute to expedite the work. Pirro Ligorio, a Neapolitan, was at this time held in high esteem by the Pope. He was an antiquarian, though not of great celebrity, but a good architect, and a fresco painter of some merit;^[59] an enthusiast too, and alike jealous of Ricciarelli, for the homage he paid to Bonarruoti, and of Salviati, for the respect which he did not shew to Ligorio himself. Remarking that the Pope wished to hasten the completion of the work, he proposed to select a number of scholars, and to divide the work amongst them. Vasari adds, that Salviati was disgusted and left Rome; where, on his return, he died, without finishing his work; and that Ricciarelli, who was always slow, never touched it again, and died also after the lapse of some little time. The completion of the work was then entrusted, as far as possible, to the successors of Raffaello. Livio Agresti da Forli, Girolamo Siciolante da Sermoneta, and Marco da Pino, of Sienna, although they had received their first instructions from other masters, had been instructed by Perino del Vaga, and had assisted in his cartoons. Taddeo Zuccaro had accomplished himself under Giacomone da Faenza, and had made his younger brother Federigo an able artist. To these the work was assigned, and there were added to them Samacchini and Fiorini, Bolognese artists; and Giuseppe Porta della Garfagnana, called Giuseppe Salviati. This latter had been the pupil of Francesco Salviati, from whom he learnt the principles of design; he was afterwards a follower of the school of Venice, where he resided. Of these numerous artists Vasari assigns the palm to Taddeo Zuccaro, but the court was so much pleased with Porta, that it was in contemplation to destroy the works of the other artists, in order that the apartment might be finished by him alone. He represented Alexander III. in the act of bestowing his benediction on Frederick Barbarossa, in the Piazza of S. Mark, in Venice; and he here indulged his taste for architectural ornaments, in the Venetian manner. When however this work is viewed and compared with that of other artists, we discover a sameness of style, the character of the time; a deficiency of strength in the colours and shadows is the common failing. It seems as if the art, through a long course of years, had become debilitated: it discovers the lineaments of a better age, but feebly expressed and deprived of their primitive vigour. That portion of the work which remained unfinished, was, after the death of Pius IV., completed by Vasari and his school, under his successor; and some little was supplied under Gregory XIII., who was elected in 1572.

With that year a reign commenced but little auspicious to art, and still less so was the Pontificate of Sixtus V., the successor of Gregory. These Pontiffs erected or ornamented so many public buildings, that we can scarcely move a step in Rome, without meeting with the papal arms of a dragon or a lion. Baglione has accurately described them, and to him we are indebted for the lives of the artists of this and the following period. It is natural for men advanced in years to content themselves with mediocrity in the works which they order, from the apprehension of not living to see them, if they wait for the riper efforts of talent. Hence those artists were the most esteemed, and the most employed, who possessed despatch and facility of execution, particularly by Sixtus, of whose severity towards dilatory artists we shall shortly adduce a memorable instance. This inaccuracy of style was continued to the time of Clement VIII., when a number of works were hastily finished to meet the opening of the holy year 1600. Under these pontiffs the painters of Italy, and even the oltramontani, inundated Rome with their works, in the same manner that the poets and philosophers had filled that city with their writings in the time of Domitian and Marcus Aurelius. Every one indulged his own taste; and the style of many was deteriorated through rapidity of execution. Thus the art, particularly in fresco, became the employment of a mechanic, not founded in the just imitation of nature, but in the capricious ideas of the artist.^[60] Nor was the colouring better than the design. At no period do we find such an abuse of the simple tints, in none so feeble a chiaroscuro, or less harmony. These are the mannerists, who peopled the churches, convents, and saloons of Rome with their works, but in the collections of the nobility they have not had the same good fortune.

This era, nevertheless, is not wholly to be condemned, as it contains several great names, the relics of the preceding illustrious age. We have enumerated the painters who flourished in Rome in the first reigns of this century, and we ought to notice a number of others. They were for the most part foreigners, and ought to be introduced in other schools. I shall here describe those particularly, who were born within the limits of the Roman School, and those who, being established in it, taught and propagated their own peculiar style.

Girolamo Siciolante da Sermoneta, who adopted Raffaello's style, may be enumerated among the scholars of that great man, from his felicitous imitation of their common master. In the Sala de' Regi, in the Vatican, he painted Pepin, King of France, bestowing Ravenna on the church, after having made Astolfo, King of the Lombards, his prisoner. But he approached Raffaello more closely in some of his oil pictures than in his frescos, as in the martyrdom of S. Lucia, in the church of S. Maria Maggiore; in the Transfiguration in Ara Cœli, and in the Nativity in the church della Pace, a subject which he repeated in the most graceful style in the church of Osimo. His masterpiece is in Ancona on the great altar in the church of S. Bartolommeo, a vast composition, original and rich in invention, and commensurate with the grandeur of the subject, and the multitude of saints that are introduced in it. The throne of the Virgin is seen above, amidst a brilliant choir of angels, and on either side a virgin saint in the attitude of adoration. To this height there is a beautiful ascent on each side, and the picture is thus divided into a higher and lower part, in the latter of which is the titular saint, a half naked figure vigorously coloured, together with S. Paul and two other saints, the whole in a truly Raffaellesque style. This altarpiece possesses so much harmony, and such a force of colour, that it is esteemed by some persons the best picture in the city. If any thing be wanting in it, it is perhaps a more correct observance of the perspective. Sermoneta did not paint many pictures for collections. He excelled in portrait painting.

A similar manner, though more laboured, and formed on the styles of Raffaello and Andrea del Sarto, was adopted by Scipione Pulzone da Gaeta, who was educated in the studio of Jacopino del Conte. He died young in his thirty-eighth year, but left behind him a great reputation, partly in the painting of portraits, of which he executed a great number for the popes and princes of his day, and with so much success, that by some he is called the Vandyke of the Roman School. He was a forerunner of Seybolt in the high finishing of the hair, and in representing in the pupil of the eye the reflexion of the windows, and other objects as minute and exact as in real life. He also painted some pictures in the finest style, as the Crucifixion in the Vallicella, and the Assumption in S. Silvestro at Monte Cavallo, a composition of chaste design, great beauty of colouring, and brilliant in effect. In the Borghese collection is a Holy Family by him, and in the gallery in Florence, a Christ praying in the garden; and in other places are to be found some of his cabinet pictures, deservedly held in high esteem.

Taddeo and Federigo Zuccaro have been called the Vasaris of this school; for as Vasari trod in the steps of Michelangiolo, so these artists professed to follow Raffaello. They were the sons of an indifferent painter of S. Angiolo in Vado, called Ottaviano Zuccaro, and came to Rome one after the other, and in the Roman state executed a vast number of works, some good, some indifferent, and others, when they allowed their pupils to take a share in them, absolutely bad. A salesman, who dealt in the pictures of these artists, was accustomed, like a retailer of merchandize, to ask his purchasers whether they wished for a Zuccaro of Holland, of France, or of Portugal; intimating by this that he possessed them of all qualities. Taddeo, who was the elder of the two, studied first under Pompeo da Fano, and afterwards with Giacomone da Faenza. From the latter and other good Italian artists, whom he assiduously studied, he acquired sufficient talent to distinguish himself. He adopted a style which, though not very correct, was unconstrained and engaging, and very attractive to such as do not look for grandeur of design. He may be compared to that class of orators who keep the attention of their hearers awake, not from the nature of their subject, but from the clearness of their language, and from their finding, or thinking they find, truth and nature in every word. His pictures may be called compositions of portraits; the heads are beautiful, the hands and feet not negligently painted, nor yet laboured, as in the Florentine manner; the dress and ornaments, and form of the beard, are agreeable to the times; the disposition is simple, and he often imitates the old painters in shewing on the canvass only half figures in the foreground, as if they were on a lower plain. He often repeated the same countenance, and his own portrait. In his hands, feet, and the folds of his drapery, he is still less varied, and not unfrequently errs in his proportions.

In Rome are vast works of Taddeo, in fresco, and amongst the best may be ranked the history of the Evangelists, in the church of the Consolazione. He left few pictures in oil. There is a Pentecost by him in the church of the Spirito Santo in Urbino, which city also possesses some other of his works, though not in his best style. He is most pleasing in his small cabinet pictures, which are finished in the first style of excellence. One of the best of these, formerly possessed by the Duke of Urbino, is now in the collection of the noble family of Leopardi, in Osimo. It is a Nativity of our Lord, in Taddeo's best manner, but none of his productions have added so much to his celebrity as the pictures in the Farnese Palace of Caprarola, which were engraved by Preninner in 1748. They represent the civil and military history of the illustrious family of the Farnesi. There occur also other subjects, sacred and profane, of which the most remarkable is the Stanza del Sonno, the subject of which was executed in a highly poetical manner, from the suggestions of Caro in a delightful letter, which was circulated among his friends, and is reprinted in the Lettere Pittoriche, (tom. iii. l. 99). Strangers who visit Caprarola, often return with a higher opinion of this artist than they carried with them. It is true that a number of young artists, fully his equal, or perhaps superior to him, were employed there, both in conjunction with him and after his death, whose works ought not to be confounded with his, though it is not always easy to distinguish them. Like Raffaello, he died at the age of thirty-seven, and his monument is to be seen at the side of that illustrious master in the Rotunda.