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part, imitated Peruquio as assiduously as though he were never to be other than his disciple. At any rate, such was the, wonderful progress of the young pupil that his master early began to employ him on his own works. There may still be seen in the Vatican a "Resurrection of Christ," which was the result of the joint labors of Raphael and his master; and it is not improbable that the former performed the larger part of the work. During this period the industry of Raphael was remarkable. The artistic spirit seemed to flow from him, so to speak, in forms of radiant beauty. He never allowed his hand to remain idle. Always thinking and always planning, unlike the great Leonardo, he managed to execute all his thoughts and to fulfil all his plans. In the space of a few brief years, we read of his painting a longer list of works than many other artists could finish in a lifetime. Not to mention any of them, it may only be said that all bear the impress of the school of Peruquio, with an additional amount of spiritual sentiment, a more delicate observation of nature, and a slight tinge of his own individuality, which was already beginning to be visible.

It is embarrassing enough for the historian of art, when, instead of facts to relate, he has only works to describe, and this without being able to convey to the reader those delicate resemblances and distinctions which the eye alone can apreciate. The history of Raphael, indeed, could alone be done thorough justice to, in the sight and presence of his works, but this obviously may not be. The dispersion of his productions, which prevents it, places the writer, moreover, under this double disadvantage, that he himself can scarcely form a proper comparison among them, or draw the necessary results, and that he is compelled to appeal entirely to the memory of his reader.

After leaving the studio of Peruquio, in 1504, Raphael painted the "Marriage of the Virgin," known under the name of the Sposalizio, now in the Brera at Milan, and a small half-length "St. Sebastian," now in Bergamo. But, at this time, political strife was harrassing the peace and strength of the Italian people. The Prince Guidubaldo had just returned to his state

after having incurred many hardships and dangers. "After the twenty-six days of the government of Pius III.," relates the biographer, whom we have already quoted, "and when Guiliano della Rovere was pope, under the name of Julius II., Guidubaldo was summoned to Rome, and created Gonfalonier di Santa-Chiesa. But it was stipulated at the same time, that Francesco Maria della Rovere, nephew of the pope and of the duke, should be recognized heir to the Duchy of Urbino. This solemn inauguration of the Prince della Rovere, and the presentation to Guidubaldo of the general's bâton, in presence of a large number of nobles, took place in the cathedral of Urbino, in 1504, at the very time when Raphael had just placed his altar-piece at Citta 'di Castello."

Raphael, sensible to the elevation of his prince, painted several small pictures for him, one of which, "Christ in the Garden of Gethsemane," Vasari describes as being " of such finish that a miniature could not surpass it." The "St. George," and the "St. Michael" in the Louvre, belong to this period. The latter, especially the subjects in the background, vividly recall different scenes from Dante's Inferno; for example, the description of the town of Dis (canto viii.), the allusions to the masked hypocrites (canto xxiii.) and to serpent-tortured criminals (canto iv.)

In the autumn of 1804, Raphael made his first journey to Florence. The fame of Leonardo da Vinci had partially drawn him thither. That artist had just completed his "La Gioconda," the cartoon of the "Holy Family," and was still at work on the "Battle of Aughiari." We are induced to believe that Herr Passavant is slightly in error on this point. Vasari, we admit, states that "the desire to see the celebrated cartoons, then so generally lauded, of Leonardo da Vinci and Michael Angelo" attracted Raphael to Florence. Herr Passavant, without giving the matter a moment's consideration, is led on to the statement that the desire to see the work was the motive of Raphael's visit; and that it was completed before the latter's arrival. Now, Leonardo could not possibly have finished his work before the year 1505, as his biographer has satisfactorily proven; while that of Michael Angelo was pro

longed a year later. A letter of the time, written by the Duchess of Sora, says that Raphael "has decided to pass some time at Florence, in order to improve himself in his studies." In a word, we do not believe that a desire of seeing the cartoon of Leonardo was, in any way, the motive of the artist's visit.

The arrival of Raphael in the beautiful city of Florence unfolded a new and more resplendent life to him. The sight of the masterpiece of the ancient Florentine school, and especially an intimacy with artists, whose emulation had been excited by the example of Leonardo da Vinci and Michael Angelo; in fact, everything, contributed to develop his talent. The artist was received with much favor. Several distinguished patricians ordered pictures of him, and, under the happiest of auspicies, he began to feel at home.

The masters whom he principally studied were Masaccio and Leonardo da Vinci. These two artists revealed to Raphael his own wonderful powers, until then almost concealed. Awakened suddenly, and excited with the inspiration that seemed all at once to flow in on him from every side, he pushed forward at once toward the perfection he was soon to attain. Still Raphael did not wholly abandon the style of Peruquio. It was, of course, impossible for him to give up on a sudden all that he had learned and acquired from the impressive teachings of a most powerful and attractive master. "When Raphael," relates Vasari, "saw the works of Da Vinci, he was perfectly astonished. This style pleased him better than any other; he studied it, and left by degrees, and not without difficulty, the style of Peruquio."

Among the earliest works of Raphael, at Florence, were the "Madonna del Gran Duca," in short one of his masterpieces; another Madonna, which has recently been purchased for the Berlin Museum; together with several portraits mostly of members of noble families. Raphael's sojourn at Florence was brief, but accompanied by every pleasure that his heart could have wished. Of friends, he found many, whose encouragement and tokens of approbation 'incited his ambition and nourished his zeal. "When assembled together

with his friends before the works of the great masters, especially of Leonardo da Vinci, Raphael was expressing eloquently his feelings and thoughts. These artistic discussions were constantly resumed, with the greatest animation, in hours of relaxation, in the studio of the architect and sculptor in wood, Baccio d'Aquolo." It would be a pleasure to linger over these happy scenes, scenes which are only too vividly imagined by one familiar with the old localities and thoroughly imbued with the true, artistic spirit of the age. These years of the artist's life were some of his happiest. He was young, buoyant, full of ambition, and susceptible of the tenderest emotions. He knew no care, he recognized no foes, he wrestled with no perplexities. It was the glorious sun-tide of his career, during which he dreamt but the brightest visions.*

We have now to allude to Raphael's visit at Bologna, which many of his biographers have utterly failed to notice. For what purpose he went thither we know not, neither have we any means of knowing. Herr Passavant suggests that it might have been at the suggestion of Giovanni Bentivoglio, lord of that town. At any rate, there exists a letter which Raphael wrote in 1508, to Francia, the famous painter of Bologna; and the same letter speaks of the friendship which existed between the two artists. We see by it that they had promised each to paint his own portrait and to exchange them in memory of the happy days they had passed together. These engagements were faithfully performed, as is proven by

another letter.

It was after his stay at Bologna that Raphael went to pay a visit to his native town. With respect to learning and morals, the court of Urbino was accounted the first of the smaller courts in Italy. Count Castiglioni has left a lively and agreeable picture of it in his "Libro del Cortigiano." Amongst

"Tels furent aussi," says Quatremère de Quincy, "l'ascendant de sa supériorité, et le charme de son caractere moral, qu'ils lui créèrent sur tout ce qui l'environnait une sorte d'empire, sous lequel on se trouvait à la fois heureux et fier de vivre. Ceux qui auraient pu prétendre à devenir ses rivaux tiraient vanité de n'être que ses disciples, et tous étaient ses amis.

the great men then assembled at Urbino were Guiliano de' Medici, brother of Leo X., Andrea Doria, whose name is everywhere celebrated, Ottaviano Fregoso, afterward Duke of Genoa, and others. The brilliancy of such a court must have had great influence on the young and impressionable Raphael. The life of the "higher classes" appeared to him to be in singular contrast to that simplicity which he had hitherto known. He made acquaintance with some of the noblest and most learned men of the time, and even contracted a friendship, which lasted his whole life, with Pietro Bembo and Castiglione. In order to show clearly the taste, the spirit and the manner of the circle that surrounded Raphael during this period of his youth, his latest biographer has happily transcribed from Castiglione's "Courtier's Book" the conversation of one evening, which goes far to show that the artist, like other great men of his age, was most thoroughly imbued with the notions and ideas of Plato. Platonism was, indeed, the doctrinal faith of very many of the famous Italian painters.

It is unnecessary to mention the several works which Raphael painted during his stay at Urbino. At the most, such a mention would be but a bare catalogue, and would not, in that event, help the reader to get a clearer insight into the artist's life. We must, therefore, content ourselves with facts only. On the 25th September, 1506, Julius II., accompanied by twenty-two cardinals and a number of prelates, arrived at Urbino. Twenty-five of the noblest young men went forth to meet him. In the evening he advanced on horseback to the cathedral, and from thence to the court. Did Julius II. have the pleasure of seeing one of Raphael's paintings at that court? We are fain to believe that he had. However, all that we know about it is this: Raphael returned to Florence, painted the "Holy Family" of pyramidal fame, the "Entombment," the charming "Saint Catherine of Alexandria," several madonnas, that precious jewel of the Louvre, the "Belle Jardinière," and many other pictures beside, and then suddenly and mysteriously quitted Florence to enter the service of the pontiff. But how came he to do so? Had the young duke given him a recommendation, or

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