DOI Page / Citation link:
https://doi.org/10.11588/diglit.48088#0623
RAPHAEL. 187
from prison refers to the imprisonment of Leo X. The light proceeds from the angel, an effect
which was looked upon in Raphael’s time as a sort of wonder.
Attila before the gates of Rome, repulsed by Pope Leo I, refers likewise to Leo X. and
his victorious struggle with the French in 1513. The unity of the composition which possesses
magnificent groups, is only given in an external manner. Pope Leo IlL’s oath of purification
a commentary on the infallibility of the successor of St. Peter, was painted by Raphael’s scholars,
from a hasty cartoon.
But it is in the principal picture, the conflagration of the Borgo at Rome, that Raphael is to
be admired in his greatness. Leo IV. extinguishes the conflagration by the sign of the cross—
the picture glorifying thus the omnipotence of the papal blessing. Subjects of emotion, and
outward movement are flowing here like a stream, and the eye, horrified by the dreadful occurrence,
falls everywhere on groups of immortal beauty. We have a representation of the terrible
splendour of the destruction of Troy, Carthage, and Jerusalem. In the “Stanza dell’ incendio”
are the remains of Perugino’s frescoes. We leave the world-famous figures: the youth who,
hovering beside the wall, lets himself drop to the ground, the young woman, who reaches a
dauntless-looking man two water-casks, and the famous girl carrying water, who is descending
the stairs.
This Stanza is followed by the “Sola di Costantino” with scenes, to the glorification of the
church, from the life of this emperor. All the other side-pictures are swayed by the famous
“Battle of Constantine” at the Pons Milvius, where Maxentius was conquered. Raphael was no
warrior; so much the more wonderful seems the soldierly, practical manner in which the figures
use their weapons, the arrangement of the advancing masses, the tumult of the retreating. This
picture has not its equal for fullness of life and motion in the warriors any more than for dis-
tinctness and grand inspiration. There is indeed no battle-piece which could contest the rank
with this Battle of Constantine by the youthful, gentle Raphael.
This divine genius enters an entirely different region in the “Loggie” of the Vatican, known
by the name of Raphael’s Bible. The Loggie are open galleries which take in three sides of
an inner court. We can scarcely here mention Bramante’s splendid building with the magnificent
staircase and the stories of arcades, after the idea of the baths of Titus. The principal events
of bible-history are here created pictorially by Raphael, in a manner quite peculiar to himself.
It is here real, complete life which he represents—the extremest simplicity united to expression
to deepest meaning. The drapery is arranged in a manner of his own, and up to the present
day could serve for an unsurpassable model. It is not the East which hovered before the eye of
the Roman; but we find everywhere the lofty lines of simple grandeur and deep feeling which
tradition has preserved to us like brilliant jewelsfrom the childhood of the nations.
Leo X. conceived the idea of adorning the lower walls of the Capella di San Sisto, on which
tapestry-pictures were already pretty well imitated in painting, with real tapestry of the most
costly material. Raphael was commissioned to furnish for these tapestries a series of repre-
sentations, from the acts of the Apostles. Raphael completed eleven of these representations,
in which we perceive the most finished of his historical performances. The tapestries, worked in
Arras, are called “Arazzi.” Seven of the cartoons are preserved (Hampton-court-gallery). With
the exception of some Madonnas, Raphael has seldom worked with such a complete devotion of
his entire being, as in these cartoons. The following subjects are treated: the miraculous draught
.of fishes; the delivery of the keys, the stoning of St. Stephen; the healing of the cripple (“Silver
47*
from prison refers to the imprisonment of Leo X. The light proceeds from the angel, an effect
which was looked upon in Raphael’s time as a sort of wonder.
Attila before the gates of Rome, repulsed by Pope Leo I, refers likewise to Leo X. and
his victorious struggle with the French in 1513. The unity of the composition which possesses
magnificent groups, is only given in an external manner. Pope Leo IlL’s oath of purification
a commentary on the infallibility of the successor of St. Peter, was painted by Raphael’s scholars,
from a hasty cartoon.
But it is in the principal picture, the conflagration of the Borgo at Rome, that Raphael is to
be admired in his greatness. Leo IV. extinguishes the conflagration by the sign of the cross—
the picture glorifying thus the omnipotence of the papal blessing. Subjects of emotion, and
outward movement are flowing here like a stream, and the eye, horrified by the dreadful occurrence,
falls everywhere on groups of immortal beauty. We have a representation of the terrible
splendour of the destruction of Troy, Carthage, and Jerusalem. In the “Stanza dell’ incendio”
are the remains of Perugino’s frescoes. We leave the world-famous figures: the youth who,
hovering beside the wall, lets himself drop to the ground, the young woman, who reaches a
dauntless-looking man two water-casks, and the famous girl carrying water, who is descending
the stairs.
This Stanza is followed by the “Sola di Costantino” with scenes, to the glorification of the
church, from the life of this emperor. All the other side-pictures are swayed by the famous
“Battle of Constantine” at the Pons Milvius, where Maxentius was conquered. Raphael was no
warrior; so much the more wonderful seems the soldierly, practical manner in which the figures
use their weapons, the arrangement of the advancing masses, the tumult of the retreating. This
picture has not its equal for fullness of life and motion in the warriors any more than for dis-
tinctness and grand inspiration. There is indeed no battle-piece which could contest the rank
with this Battle of Constantine by the youthful, gentle Raphael.
This divine genius enters an entirely different region in the “Loggie” of the Vatican, known
by the name of Raphael’s Bible. The Loggie are open galleries which take in three sides of
an inner court. We can scarcely here mention Bramante’s splendid building with the magnificent
staircase and the stories of arcades, after the idea of the baths of Titus. The principal events
of bible-history are here created pictorially by Raphael, in a manner quite peculiar to himself.
It is here real, complete life which he represents—the extremest simplicity united to expression
to deepest meaning. The drapery is arranged in a manner of his own, and up to the present
day could serve for an unsurpassable model. It is not the East which hovered before the eye of
the Roman; but we find everywhere the lofty lines of simple grandeur and deep feeling which
tradition has preserved to us like brilliant jewelsfrom the childhood of the nations.
Leo X. conceived the idea of adorning the lower walls of the Capella di San Sisto, on which
tapestry-pictures were already pretty well imitated in painting, with real tapestry of the most
costly material. Raphael was commissioned to furnish for these tapestries a series of repre-
sentations, from the acts of the Apostles. Raphael completed eleven of these representations,
in which we perceive the most finished of his historical performances. The tapestries, worked in
Arras, are called “Arazzi.” Seven of the cartoons are preserved (Hampton-court-gallery). With
the exception of some Madonnas, Raphael has seldom worked with such a complete devotion of
his entire being, as in these cartoons. The following subjects are treated: the miraculous draught
.of fishes; the delivery of the keys, the stoning of St. Stephen; the healing of the cripple (“Silver
47*