GREAT PAINTERS: RAPHAEL

Any attempt at proper consideration of the book of the arts of Columbus’ Century must begin with the three great names of Raphael, Leonardo da Vinci and Michelangelo. They are the greatest trio in the history of art all their names associated with a single city at the beginning of their lives but deeply influencing the world of art before the end of them. Of the three as a painter Raphael is undoubtedly the greatest, though surely here, if anywhere in the history of art, comparisons are odious. Each of these geniuses in his own department of painting was supreme, as a religious painter Raphael, as a portrait painter Leonardo, as a great decorative artist Michelangelo. Raphael rivals Leonardo, however, in the painting of portraits and some of Leonardo’s religious paintings are almost the only ones worthy to be placed besides Raphael’s great religious visions. Michelangelo, however, could on occasion, as he showed in the Sistine, prove a rival of either of them in this mode.

As is so true of the men of this time as a rule, all three of these men were much more than painters. Raphael died at the early age of thirty-seven, yet he reached distinction as an architect and as an archaeologist, besides accomplishing his great painting. Leonardo insisted on not being thought of as a painter, but as an engineer and architect, though he has painted the greatest portrait ever made and beat Michelangelo once in a competition in sculpture. Michelangelo reached supremacy in all four of the greatest modes of art. He is a painter second to none in all that he attempted, he is the greatest sculptor since the time of the Greeks, he is one of the greatest architects of all time, yet with all this, by what might seem almost an impossible achievement, he was one of the greatest of poets and has written sonnets that only Dante and Shakespeare have equalled. These men of Columbus’ Century not only were never narrow specialists but quite the contrary; they were extremely varied in their interests and felt in contradiction to what seems the prevalent impression in our time that such breadth of interest only increased their powers of expression in anything that they attempted.

Of the three probably Raphael has had the widest popular influence. His paintings have all unconsciously to most people colored and visualized for them the Biblical scenes, especially of the New Testament, and since his time painters have been greatly influenced by his compositions. He has deeply affected all the world of art and as for several centuries now some of his greatest works have been held outside of Italy, they have been producing their effect and giving artists the thought of how well deepest vision could be expressed.

This man, who by universal consent was the greatest painter that ever lived, was about nine years old when Columbus discovered America. According to tradition he died on his birthday at the age of thirty-seven in 1520. In less than two decades of active artist life he had painted a series of pictures that were a triumph even in that glorious period of marvellous artistic accomplishment. They have been the subject of loving study and affectionate admiration ever since. Many of them have been the despair of the artists who came after him. But Raphael is not an artists’ artist in any exclusive sense of the word. He is as popular an idol with those who confess to having no critical knowledge of art as he is the hopeless model of those whose lives are devoted to art.

Unlike many a genius, though his family was poor his early years were surrounded by conditions all favorable for the development of his talents. Raphael is his baptismal name and his family name was Santi. (The name Sanzio often attributed to him has no warrant in history.) His father Giovanni Santi filled the post of art expert, so far as that office was formally constituted at that time, to Duke Frederick, reigning Prince of Urbino, and it was here that Raphael was born. The Duke was one of the most distinguished and perhaps the most discriminating of the great Renaissance patrons of art as well as of letters, and a series of well-known painters, among them Piero della Francesca, Melozzo da Forlì and Justus of Ghent, were in his service at this time. Duke Frederick’s interest in everything artistic had made the capital of his little principality one of the most important art centres of this time and his palace is still the Mecca for visitors to Italy who are interested in the development of art, for it possesses some of the great masterpieces of the Renaissance painters. Raphael in his boyhood had in a more limited way almost as favorable surroundings as Michelangelo enjoyed in Florence, but with his father’s favor of his studies instead of the opposition that this Florentine contemporary encountered. Urbino was indeed almost as much of a centre of intellectual influence and progress at this time as the court of Lorenzo the Magnificent, at which Michelangelo was brought up. It was at Urbino that Baldassare Castiglione wrote "Il Cortigiano," the book of The Gentleman, the elegant setting forth of what was represented by that term in the Renaissance period.

When Raphael was about eleven his father died, but fortunately the maternal uncle under whose guardianship he passed was quite as favorable to art as his father had been. Yielding to the wishes of the boy he permitted him to enter the studio of Timoteo Viti, a pupil of the artist Francia, who had lately returned from his studies in other portions of Italy to take up his residence in his native country. During the next few years Raphael devoted himself to that training in drawing which was to mean so much for him. Just about a century ago a sketchbook was found, now in the Academy of Venice, having been purchased for the city, in which there are over a hundred pen-and-ink drawings of various pictures copied by Raphael, and competent critics declare that the masterly genius of the artist can already be recognized in them.

Besides these he painted a series of pictures in Timoteo’s studio. Some of these have been preserved. Probably the best known is “St. George and St. Michael,” now in the Louvre, though the “Dream of the Knight” in the National Gallery, London, has been the admiration of young folk particularly for many generations. There are some who claim that the most charming of these early pictures painted at Urbino is the “Three Graces of the Tribune of Chantilly.”

After this Raphael studied for a time, probably for some four years, with Perugino at Perugia. This period of his life is mainly interesting from the fact that while he acquired Perugino’s technique, Raphael went far beyond his master, though for a time his development was probably hindered rather than helped by that master’s influence. Only one of the paintings made at Perugia, “The Coronation of the Virgin,” painted for the Franciscans of that city, and now to be seen in the Vatican, reveals as art critics declare the real genius of Raphael shining through and above the qualities that he had borrowed from his Perugian master.

After Raphael’s years of fruitful student work in the Hill Country so dear to students of Italian culture for its four periods of great art, there came his Florentine period, which represents a new and wonderful evolution of his artistic genius. Here, when he arrived in 1504, Leonardo da Vinci in his productive forties and the young Michelangelo in his revealing later twenties were at work at their famous historical cartoons, and the atmosphere of the city was deeply imbued with the Renaissance spirit. It is a little difficult now to think of Raphael as merely a young struggling artist, making his living by painting portraits for rather commonplace people, and executing his earlier Madonnas for private oratories, partly from love of his work but mainly because he needed the money, yet this constituted his occupation.

His Madonnas soon made him famous. At the end of his first year in Florence came one of his masterpieces, the “Madonna of the Grand Duke,” still to be seen at the Pitti. At this time Raphael was under the influence of the great Dominican painter Fra Bartolommeo, though undoubtedly the specimens of Fra Angelico’s work so frequent in Florence had their power over him. The sweetness and mystical beauty which, added to the human tenderness of his lovely mothers, make his Madonnas so charming are the fruit of Raphael’s studies in Florence. Under the influence of the two Dominican painters such great pictures as “La Belle Jardiniere,” of the Louvre, the “Madonna of the Goldfinch” now in the Uffizi, Florence, and the “Madonna of the Meadow,” one of the treasures of the Vienna collection, were produced.

Just before he left Florence he painted for Atlanta Baglioni an “Entombment” which is his first attempt at an historic picture. The critics declare that it was spoiled somewhat by overwork at it and overanxiety to rival some of the great paintings of this kind from Leonardo and Michelangelo which Raphael had so much admired. However that may be, it is undoubtedly one of the world’s greatest pictures, especially when the age of the artist, twenty-five, is taken into account. Just after he finished it he was summoned to Rome by that discerning patron of genius Pope Julius II. His great opportunity had arrived. Only a little more than ten years of life lay ahead of him, but in that ten years the art of the world was to receive almost its greatest treasures. In their “Italian Cities” the Blashfields have told the story of his Roman career:

“Raphael’s conquest of his surroundings was almost magical: he arrived a youth, well spoken of as to skill, yet by reputation hardly even par inter pares; in ten short years how long if we count them in art history he died, having painted the Vatican, the Farnesina, world-famous altar-pieces, having planned the restoration of the entire urbs, having reconciled enemies and stimulated friends, and having succeeded without being hated.

“He achieved this success by his great and manifold capacity, but, most of all, because in art he was the greatest assimilator and composer who ever lived. The two words are each other’s complements; he received impressions, and he put them together; his temperament was exactly suited to this marvellous forcing house of Rome, for a Roman school never really existed, it was simply the Tusco-Umbrian school throned upon seven hills and growing grander and freer in the contemplation of Antiquity.

“To this contemplation, Raphael brought not only a brilliant endowment but an astonishing mental accumulation; the mild eyes of the Uffizi portrait were piercing when they looked upon nature or upon art, and behind them was an alembic in which the things that entered through those eyes fused, precipitated, or crystallized as he willed.”

Pope Julius II, himself one of the great geniuses of history, with a dream of a united Italy long before there was any possibility of its accomplishment, and with an appreciation of genius that alone would have given him a commanding place among the world’s great rulers, had summoned to Rome for the decoration of the apartments of the Vatican some of the greatest painters of the time. Even from distant Flanders came Reuisch and then there were Perugino, Raphael’s old master, now advanced in years, and Signorelli, quite as old, and Lotto and Sodoma and Peruzzi and others. It was beside these that Raphael had to do his work. Within a year of Raphael’s coming he, the youngest of them all, not yet twenty-six years of age, was selected by the Pope how well advised he was as the one to whom all the important decorations should be entrusted. Then came the opportunity to do the Camera della Segnatura, that triumph of decorative art. “This chamber of the Vatican” became, as Raphael’s biographer in the Catholic Encyclopædia says, “a sort of mirror of the tendencies of the human mind, a summary of all its ideal history, a sort of pantheon of spiritual grandeurs. Thereby the representation of ideas acquired a dramatic value, being no longer as in the Middle Ages the immovable exposition of an unchangeable truth but the impassioned search for knowledge in all its branches, the moral life of humanity.”

His decorations of the Camera de la Segnatura are probably among the greatest contributions to decorative art ever made. They are certainly among the most interesting. Only Michelangelo’s wonderful decorations in the Sistine Chapel rival them and there are some critics who would concede the palm to Raphael. Here we have the index not only of his power to paint marvellously but also of his intellectual genius and his judgment of values in the history of literature and philosophy. Such pictures as the “Disputa” and the “School of Athens” are real contributions to the history of human thought. Only a man who was himself of profound intellectuality on a plane of equality with the great intellectual geniuses whom he was painting could have conceived and completed these magnificent groups of the world’s greatest men successfully. It has been well said that to appreciate properly the pictures of the Segnatura is of itself an education. To be able to take them in their full significance as essays in art and in the history of literature and philosophy is to have gone far on the road to culture. Raphael’s achievement here is that of a great mind gifted with a wonderful power of comprehension as well as an almost unrivalled faculty of expression. No decorative pictures of the modern time, however great, can be placed beside them.

It has often been a source of wonder how Raphael was able to paint so appropriately the figures of Plato, Socrates, Aristotle and others in his great picture of the “School of Athens.” Only the genius that gives men intuition, that enabled Shakespeare to portray wonderfully the character of the men of all times and the blind Homer to give us an enduring picture of man could have enabled him to do it. It was the time of the New Learning and the recently aroused interest in the classics, but no mere accumulation of information would ever have made him capable of such a representation. As Gladstone once said of Homer, a whole encyclopaedia of information with regard to the Greeks of Homer’s time would not have told us as much about them as Homer has given us. At the time when he did the painting Raphael was not much more than thirty and his life had been occupied with painting and not with the accumulation of erudition. Henry Strachey in his sketch of Raphael calls attention to the fact that none of the great contemporary Italian humanists were in Rome at this time. Neither Bembo nor Bibbiena nor Castiglione were where they might be readily consulted, and it was only Raphael’s genius insight that enabled him to accomplish so wonderfully the task he had been set. For while the subjects were probably chosen for him he had to work out the details for himself, and indeed these wonderful compositions show this very clearly.

Raphael revealed for us in the “Camera della Segnatura,” as almost no one else has done, the attitude of mind of his period with regard to the meaning of life. Years of scholarly devotion to the study of pagan antiquity and especially the great Greek philosophers and poets, as well as the remains of its sculpture, had awakened in men’s minds a broader view of life and its significance than had been possible for centuries. Raphael has summed this up in the wonderful documents that he has left in the Vatican and put on canvas what the great scholars of the time tried to express in words. The late Professor Kraus of Munich in his chapter on Medicean Rome in the second volume of the Cambridge modern History has told the story of this:

“The four pictures of the camera represent the aspirations of the soul of man in each of its faculties; the striving of all humanity towards God by means of aesthetic perception (Parnassus), the explanation of reason in philosophical inquiry and all scientific research (the School of Athens), order in Church and State (Gift of Ecclesiastical and Secular Laws) and finally Theology. The whole may be summed up as a pictorial representation of Pico della Mirandola’s celebrated phrase, philosophia veritatem quaerit, theologia invenit, religio possidet; and it corresponds with what Marsilio says in his Academy of Noble Minds when he characterized our life’s work as an ascent to the angels and to God.”

Artists and poets and writers have vied with each other in saying strong words of high praise with regard to these decorations. The Blashfields in their “Italian Cities” have told the story of the limitations under which he worked, those of the room, lighted from two sides with two walls pierced by windows, and then the fact that to a great extent probably his subjects were dictated, yet he must needs body them forth in concrete form and clearly. How well the young artist not only overcame these difficulties but out of the very difficulties created the most marvellous portions of his masterpieces the Blashfields have also told.

In one paragraph they have detailed the story of Raphael’s associations with the artists of Rome at that period. Because it gives some idea of the wealth of artistic genius existent in this time it concerns us deeply here. They say: “The Urbinate (Raphael) strong as he was, had felt the need of strengthening himself still further by acquiring the friendship of other artists, and creating a kind of little court. We are told that almost nightly at his table there met, Luca Signorelli, Pietro Perugino, Baldassare Peruzzi, Giovanantonio Bazzi and Lorenzo Lotto. What an age! when a single supper party could furnish such an assemblage of world-famous artists, who in turn, as they went from their quarters in the Borgo Vecchio, might meet Michelangelo returning from the Vatican with the contingent of Florentines, Bugiardini, Granacci, Aristotile da Sangallo, and l’Indaco, who were helping him in the Sistine Chapel.”

So much has been said of the Camera della Segnatura that it is sometimes forgotten that there are other rooms at the Vatican decorated by Raphael, only less wonderful than this. If they existed anywhere else they would be prized very highly, and if they were by any other artist would place him among the great artists of all time. The Camera del Incendio, so called because of the representation of “The Fire in the Borgo,” has in this scene one of the most dramatic pictures ever painted. There are other great dramatic subjects finely treated here, as “The Oath of Leo III” and the “Coronation of Charlemagne.” In this work Raphael was probably assisted to a noteworthy extent by pupils and associates, yet all of it is stamped with his genius. There are in the Camera del Eliodoro such pictures as “Jacob’s Dream,” the “Sacrifice of Isaac” and the “Burning Bush,” which show Raphael’s wonderful power of composition and at the same time the readiness of genius which enabled him to turn from one subject to another, accomplishing so much that one is astounded to think of how ideas must have crowded on him and yet how well all is done considering that the artist so often needs above all the element of time to perfect his work. Had Raphael been spared to the ordinary length of life or to such years as Michelangelo’s four score and ten or Titian’s almost five score, what an abundance of his art there would be in the world.

One of Raphael’s greatest works at Rome is comparatively little appreciated except by those whose attention has been particularly called to it. This was his making of the cartoons for the series of tapestries to be hung in the Sistine Chapel. These tapestries were to be manufactured in the Low Countries, but the Pope wanted the subjects that were to be represented to come from Raphael. Raphael consented to make the cartoons for them, though he knew that they would be cut into rolls some two inches wide to be handed over to the weavers. He had no idea that they would ever be exhibited except in the imperfect way in which tapestry can represent painting. Most artists of high rank would probably refuse such a commission. Certainly it seemed rather derogatory to his dignity as an artist to think that he should furnish only copies that were themselves to have no place among his collected works and prove at most a dubious addition to his fame. Under these circumstances it would not have been surprising if the composition and the manner of execution of the cartoons had been far below that of his works in painting and fresco.

He gave himself to the commission, however, whole-heartedly and executed a series of designs that are among the greatest compositions that have ever come from an artist’s hand. These cartoons, after having been copied in tapestry, lay in the narrow rolls into which they had been slit in the tapestry factory in the Low Countries until, resurrected almost in our own time, they became the most precious treasures of the South Kensington Museum in London. Here they have been the favorite study of artists from all countries and have added laurels to Raphael’s crown of artistic glory. He had the artist’s true sense of joy in work and the artistic conscience to satisfy the canons of his own judgment and taste, even in a task that was to represent him only at second hand. Almost never in history has the great artist consented thus to make himself subsidiary to the artisan, and that Raphael, the greatest of artists, should have done it shows the genuine spirit of true art as developed at this time.

Some of these cartoons, as “St. Paul Preaching to the Athenians,” are considered among Raphael’s greatest works. Raphael has well been called the greatest decorator who ever lived, yet he consented to add his mite to the decoration of the Sistine Chapel, in which Michelangelo’s triumphant work stood out so grandly above, in order that the hangings on the walls might be worthy of that wonderful chapel that a great Pope had planned and had had the happy faculty of securing the greatest men of all time as collaborators in finishing.

Perhaps nothing shows the wonderful artistic power and influence of Raphael more than the fact that his compositions have dictated practically all the interpretation of Bible scenes for the after time. Quite unconsciously men have adopted his way of looking at things. He did not costume Biblical characters in the clothes of his own time, but on the other hand, in spite of his wide knowledge as an archaeologist, he did not attempt to make his pictures true to the genuine life of the times and the costuming of the older period. The set of cartoons particularly illustrate how well he visualized the scenes and yet the Apostles are dressed in garments that they never wore. As I write there is before me an engraving of Paul preaching to the Athenians. That Unknown God whom they had worshipped he is come to preach to them. It is a wonderful composition. Probably nothing has ever excelled it. There is probably not a single feature in it, however, that in any way represents what is true to history in the scene or the people. After his time for centuries his visualization satisfied people’s minds, so much is genius able to impose itself on humanity.

The Sistine Madonna, the only picture of Raphael’s painted on canvas, is usually considered to be the greatest religious painting that ever was executed and one of the most wonderful realizations of vivid poetic imagination that the world possesses. Everything in it is full of sublime suggestion. The majestic attitude of the Madonna posed upon the clouds, her face of perfect beauty, her far-away gaze of rapt veneration and absorption in her motherhood, but motherhood of the Divine, proclaim her a vision from Heaven. No more wonderful conception of the human mother of the Divinity has ever been reached and yet critics and artists are a unit in proclaiming that the Virgin Mother is surpassed in wondrous realization of profound imagination by the Divine Child Whom she holds so tenderly in her arms. He looks out into the world from those arms with solemn sacred eyes that somehow give the idea of His profound interest in all that He sees and of an all-embracing vision. Then there is the rugged, bearded Pope Sixtus gazing upward with rapt devotion and the graceful, beautiful Saint Barbara adequately representative of the modest virgins who all over the world, for all the time since the coming of Christ, modestly cast their eyes down before the Virgin Mother and her child. Below are the two exquisite boy angels, whose charming childish attitudes of rapture have always roused so much interest.

It is said that these were the portraits of two little boys who came to gaze, boy fashion, curiously into the window of the studio while Raphael was painting. His transformation of the mischievous, inquisitive, supremely boyish faces into the look of angelic rapture is one of the triumphs of the picture that have always made it of the greatest interest. Painted originally for an Italian Church it is now the treasure of the gallery of Dresden, where it occupies a room by itself that is more like a shrine to which devout worshippers come from all over the world and in which as in some sacred place the visitor distinctly lowers his voice and walks on tiptoe. Nothing tells more of what the picture means than to watch the crowds that come from all over the world to see it and the way in which it is almost worshipped by those whose opinion is worth the most.

After the Sistine Madonna, unfortunately for art, Raphael’s attention was drawn more and more from its special sphere of work as a painter and his time was taken up and his attention absorbed by the larger, wider pursuits of art director and archaeologist. This would not have been so sad perhaps only for the brevity of the life destined to be his. Had he lived to three score and ten the ten years devoted to these phases of art work, as they may well be called, would probably have proved beneficial to his development. As it was we are likely to think of it as time wasted by a great genius painter. His art directorship proves the genius of the man. His workshop at Rome gradually took on the character of a school of art. In this designs were prepared not only for fresco but for mosaic work, for tapestry, for the carving of wood and stone and even for engraving and other phases of art. Vasari mentions fifty scholars who were employed as pupils and assistants in this workshop. In the meantime Raphael’s interest in art history and his passion for classical art led him to dispatch artists to Naples and Athens, to make drawings of noteworthy antiquities that had been discovered. His manifold interests serve to show how broad were his own sympathies with everything artistic.

Towards the end of his life, though Raphael at thirty-five had no idea that death was impending, he devoted himself to the study of Roman antiquities and to the direction of the archaeological excavations which were then being carried on in Rome. He had conceived the design of reconstructing an entire plan of ancient Rome, based partly on the discoveries of the excavators and partly on the descriptions of classical writers. For this he made numerous plans and sketches with his own hand, and though these have unfortunately perished, there is in the Library at Munich a copy of the report which he drew up on this subject. It is in the form of a Latin letter to Pope Leo X, showing how deeply the Pope was interested in the scheme and that very probably it was due to his urging that Raphael took it up. This letter has been declared a monument to the industry and the archaeological learning of the artist. Ordinarily in the modern time we are likely to think that the artist devotes himself to his painting and leaves to the professional scholar such work as this. We do not look for many-sidedness in the artist. Raphael, however, like Leonardo da Vinci and Michelangelo, evidently had a magnificent breadth of intellect that would have given the most precious fruits of the spirit in many lines besides painting, had he only lived to anything like the years of so many of his great contemporaries.