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-in all of which the power of the Papacy is directly or indirectly shadowed forth.

In the third chamber, the Stanza dell' Incendio, we have the Fire in the Borgo Vecchio-a marvelous work, full of the highest dramatic power, in which Raphael displayed consummate knowledge of anatomy in the groups of terrified naked figures; the Coronation of Charlemagne, the Oath of Leo III., and the Victory over the Saracens in the time of Leo IV.

The frescoes in a fourth room, known as the Sala di Costantino, are from designs by Raphael, executed after his death by his pupils.

In the cupolas of the loggie there are no less than

Chapel, by order of Leo. X. The tapestries were woven, under the superintendence of Michiel van Coxcien, at Arras, in Flanders, and are now in the Vatican; reproductions of them are also preserved in the Berlin and Dresden Galleries.

Seven of the original designs, and copies after them, are so accessible that we need only add that they represent the following scenes from the Lives of the Apostles, treated with great dramatic power:

The Miraculous Draught of Fishes (greater part by Raphael). Christ's charge to Peter (the figure of Christ only by Raphael). S. Peter and S. John healing the Lame Man (greater part by Giulio Romano).

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fifty-two subjects, which are called "Raphael's Bible," remarkable alike for dramatic interest, beauty of design, and majesty of execution. Viewed as the production of a single mind, they stand alone as a proof of Raphael's unrivaled versatility and creative genius. The decorative paintings and ornamental plaster-work in which these pictures are framed remain unequaled of their kind.

Other famous works of the Roman period of the great master's life are the Cartoons (seven still exist of an original ten), which were designed by Raphael and executed by himself, assisted by pupils, and which are so well known to all art students and visitors to the South Kensington Museum; they were originally designed for tapestries for the Sistine

The Death of Ananias (most of the heads by Raphael).
Elymas the Sorcerer struck with blindness (part by Raphael).
Paul and Barnabas at Lystra (executed by Penni).
Paul preaching at Athens (most by Raphael).

These seven cartoons were bought by Charles I., at the suggestion of Rubens, and have remained in England ever since. The three missing cartoons had for subjects

The Martyrdom of S. Stephen.
The Conversion of S. Paul.
S. Paul in Prison.

A second series, with subjects from the Life of Christ, was commenced shortly before Raphael's death.

During his residence in Rome, Raphael also

painted the famous frescoes of the Farnesina Palace, in which he gave proof of the love of antique subjects which characterized his later years, by choosing for representation the Triumph of Galatea (in which he was greatly assisted by Giulio Romano), and the History of Cupid and Psyche, by many critics supposed to have been executed entirely by his pupils, after his

designs.

Besides these vast mural paintings, his architect

ural works-already alluded to -and the diligent share he took in the researches then going on amongst the ruins of ancient Rome, Raphael found time to produce a magnificent series of e a sel pictures, altarpieces, and portraits (including several of himself), of which we can only name the most important, taking first the Holy Families and Madonnas, of which there are no less than fifty, and into which Raphael

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The last named is now the greatest treasure of the Dresden Gallery, and is evidently entirely from the master's own hand. It is, perhaps, the most famous

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IN THE PITTI PALACE, FLORENCE.

S. Cecilia.

Vision of Ezekiel.
Visitation.

Archangel Michael.
S. Margaret.

S. Catharine of Alexandria.

painting in the
world-of all ages
and of all coun-

tries. Of his altar-
pieces the most
famous are Christ
bearing His Cross
-(known as Lo
Spasimo di Ceci-
lia) having once
belonged to the
Church of S.
Maria del Spa-
simo, at Palermo
-now at Madrid,
which is in every
respect a master-
piece; and the
Transfiguration,
his last and bestoil
painting, which
was left unfinish-
ed at his death,
and carried at his
funeral with the
colors still wet: it
is now the most
valued possession
of the Vatican. Of
smaller paintings

we must name

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In the Bologna Gallery.
In the Pitti Palace, Florence.
In the Madrid Gallery.

In the Louvre.

In the Louvre (replica in the Belvedere, Vienna).

In the National Gallery.

And of his portraits, that of himself, in the Louvre; the Fornarina, in the Barberini Gallery, Rome; and those of Bindo Altoviti, in the Munich Gallery; of a beautiful Roman Maiden, and of Julius II. (a copy

of which is in the National Gallery), and Leo X., with two Cardinals, all in the Pitti Palace, Flor

ence.

On the death of Raphael, at the age of thirtyseven, all Europe was thrown into mourning, and for a time the inspiration of painters was gone. Never did one man's death create so vast a void-never was memory more fondly cherished. In the words of Kugler, "His works were regarded with religious veneration, as if God had revealed himself through Raphael as, in former days, through the prophets."

Raphael's pupils and followers were extremely numerous, and many of his excellences were successfully imitated. His most celebrated scholar was Giulo de' Giannuzzi, called Giulio Romano (1498– 1546), well represented in the National Gallery by his Mary Magdalen, Capture of Carthagenia, The Dance of the Muses, etc., who took a share in the execution of many of his master's greatest works, and inherited his feeling for classic beauty and his powerful drawing, but not his grace of design or purity of coloring. A remarkable series of paintings by Romano decorate the Palazzo del Tè, at Mantua, which was also built from his designs.

Giulio Romano had for pupils Francesco Primaticcio (1490-1570), who first worked under him at Mantua, but afterward became famous for his scenes from the Odyssey (now destroyed), which he executed in the Palace of Fontainebleau, being invited there for that purpose by Francis I. in 1531; and Giulo Clovio (1498-1578), who is more celebrated for his illuminations than his paintings.

We must also name, as followers of Raphael, Gianfrancesco Penni (1448-1528), called Il Fattore, in whose works we recognize excellences similar to those of Romano; Timoteo Viti (or della Vite), (1467-1523), who shared Raphael's power of expressing religious fervor; Pierino Buonaccorsi, called Del Vaga (1500-1547), who painted much at Genoa; Giovanni Nanni, da Udine (1487-1564), who carried out his decorative designs and caught much of his spirit; Innocenzio Francucci da Imola (1494-1549), and Bartolommeo Ramenghi, called Da Bagnacavallo (1484-1542), who adopted his soft and beautiful style of modeling.

We may here notice a few artists who, among others, formed

THE FERRARESE SCHOOL.

Benvenuto Tisio, usually called Garofalo (14811559), painted at Ferrara, Cremona, Rome and Mantua, under various masters, but ultimately became an assistant of Raphael, in the Vatican, in 1515. The latter part of his life was spent in Ferrara, and for the last nine years he suffered total blindness. His best work is the Apparition of the Virgin to S. Bruno, in the Dresden Gallery. The National Gallery contains four of his pictures: the principal is a Madonna and Child enthroned, originally an altar-piece in S. Guglielmo at Ferrara.

Giovanni, commonly called Dosso, Dossi (1479?1452), and his younger brother Battista Dossi (ab. 1480-1548), were first pupils of Lorenzo Costa; and then studied at Rome and Venice. Returning to Ferrara, they executed, among other works, frescoes in the Ducal Palace-Dosso doing the figures and Battista the backgrounds. An Adoration of the Magi, by Dosso, is in the National Gallery, where also the style of Lodovico Mazzolini (14781528) a fellow-pupil under Costa, and a subse quent rival of Garofalo, and second only to him in Ferrara-may be studied.

The National Gallery, too, contains the masterpiece of Giovanni Battista Benvenuti, called Dell' Ortolano (ab. 1490-aft. 1524), whose manner was formed on a study of Raphael and Bagnacavallo.

THE LOMBARDIC SCHOOL.

Antonio Allegri, called from his birth-place Correggio (1494 ?-1534), introduced a totally new manner in the art of Painting, and excelled all his predecessors and contemporaries in his chiaro-oscuro, and in the grace and softness of effect of his pictures. He was the founder of what is known as the School of Lombardy or Parma. In the early part of his career he was greatly influenced by Leonardo da Vinci; but he soon displayed all those distinctive peculiarities which raised him at once to the highest rank. While the masters of Rome and Florence almost exclusively cultivated form and expression, Correggio directed his attention to the harmonious play of light and shade, and to subtle combinations of color. In the words of Sir Joshua Reynolds, "His manner, design, and execution are all very great, without correctness. He had a most free and delightful pencil, and it is to be acknowledged that he painted with a strength, relief, sweetness and vivacity

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