DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.51585#0110
106
EAKLY ITALIAN PAINTERS.
related in his life. Lionardo da Vinci came to
Rome, by the invitation of Leo, attended by a train
of scholars, and lived on good terms with Raphael,
who treated the venerable old man with becoming
deference. Fra Bartolomeo also visited Rome about
1513, to the great joy of his friend. We find Ra-
phael at this time on terms of the tenderest friend-
ship with Francia, and in correspondence with
Albert Durer, for whom he entertained the highest
admiration.
Under Leo X. Raphael continued his great
works in the Vatican. He began the third hall or
camera in 1515. The ceiling of this chamber
had been painted by his master Perugino for
Sixtus IV.; and Raphael, from a feeling of respect
for his old master, would not remove or paint over
his work. On the sides of the room he represented
the principal events in the lives of Pope Leo III.
and Pope Leo IV., shadowing forth under their
names the glory of his patron Leo X. Of these
pictures, the most remarkable is that which is
called in Italian L’lncendio del Borgo (the Fire
in the Borgo). The story says that this populous
part of Rome was on fire in the time of Leo IV.,
and that the conflagration was extinguished by a
miracle. In the hurry, confusion, and tumult of
the scene ; in the men escaping half naked ; in the
terrified groups assembled in the foreground; in
the women carrying water; we find every variety
EAKLY ITALIAN PAINTERS.
related in his life. Lionardo da Vinci came to
Rome, by the invitation of Leo, attended by a train
of scholars, and lived on good terms with Raphael,
who treated the venerable old man with becoming
deference. Fra Bartolomeo also visited Rome about
1513, to the great joy of his friend. We find Ra-
phael at this time on terms of the tenderest friend-
ship with Francia, and in correspondence with
Albert Durer, for whom he entertained the highest
admiration.
Under Leo X. Raphael continued his great
works in the Vatican. He began the third hall or
camera in 1515. The ceiling of this chamber
had been painted by his master Perugino for
Sixtus IV.; and Raphael, from a feeling of respect
for his old master, would not remove or paint over
his work. On the sides of the room he represented
the principal events in the lives of Pope Leo III.
and Pope Leo IV., shadowing forth under their
names the glory of his patron Leo X. Of these
pictures, the most remarkable is that which is
called in Italian L’lncendio del Borgo (the Fire
in the Borgo). The story says that this populous
part of Rome was on fire in the time of Leo IV.,
and that the conflagration was extinguished by a
miracle. In the hurry, confusion, and tumult of
the scene ; in the men escaping half naked ; in the
terrified groups assembled in the foreground; in
the women carrying water; we find every variety