DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.51585#0147
RAPHAEL SANZIO dT’RBINO.
143
is not known, but certainly before 1730. The
subjects of the second set were all from the life of
Christ, and were as follows :
1. The Slaughter of the Innocents.
2. The Adoration of the Shepherds.
3. The Adoration of the Magi.
4. The Presentation in the Temple.
5. The Resurrection.
6. The Noli me Tangere.
7. The Descent into Purgatory.
8. Christ and the Disciples at Emmaus.
9. The Ascension.
10. The Descent of the Holy Ghost.
The tapestries of these subjects still hang in the
Vatican, and all have been engraved.
The fame of Raphael had by this time spread to
other countries. Horace Walpole, in the ‘ Anec-
dotes of Painting,’ assures us that Henry VIII.,
who on coming to the throne was desirous of emu-
lating Francis I. as a patron of art, invited Raphael
to his court; but he does not say on what authority
he states this as a fact. At all events, the young-
king was obliged to content himself with the little
•St. George sent to him by the Duke of Urbino, as
a specimen of Raphael’s talent; and with Holbein,
whom he soon after engaged in his service, as his
court painter,— perhaps the best substitute for
Kaphael in point of original genius then to be
obtained by offers of gold or patronage. Francis I.
143
is not known, but certainly before 1730. The
subjects of the second set were all from the life of
Christ, and were as follows :
1. The Slaughter of the Innocents.
2. The Adoration of the Shepherds.
3. The Adoration of the Magi.
4. The Presentation in the Temple.
5. The Resurrection.
6. The Noli me Tangere.
7. The Descent into Purgatory.
8. Christ and the Disciples at Emmaus.
9. The Ascension.
10. The Descent of the Holy Ghost.
The tapestries of these subjects still hang in the
Vatican, and all have been engraved.
The fame of Raphael had by this time spread to
other countries. Horace Walpole, in the ‘ Anec-
dotes of Painting,’ assures us that Henry VIII.,
who on coming to the throne was desirous of emu-
lating Francis I. as a patron of art, invited Raphael
to his court; but he does not say on what authority
he states this as a fact. At all events, the young-
king was obliged to content himself with the little
•St. George sent to him by the Duke of Urbino, as
a specimen of Raphael’s talent; and with Holbein,
whom he soon after engaged in his service, as his
court painter,— perhaps the best substitute for
Kaphael in point of original genius then to be
obtained by offers of gold or patronage. Francis I.