DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.51585#0157
RAPHAEL SANZIO D’URBINO.
153
ings of the lower world, we behold the source of
our consolation and of our redemption from evil.”
At this time the lovers of painting at Rome
were divided in opinion as to the relative merits
of Michael Angelo and Raphael, and formed two
great parties, that of Raphael being by far the
most numerous.
Michael Angelo, with characteristic haughtiness,
disdained any open rivalry with Raphael, and put
forward the Venetian, Sebastian del Piombo, as no
unworthy competitor of the great Roman painter.
Raphael bowed before Michael Angelo, and, with
the modesty and candour which belonged to his
character, was heard to thank Heaven that he had
been born in the same age and enabled to profit by
the grand creations of that sublime genius : but he
was by no means inclined to yield any supremacy
to Sebastian ; he knew his own strength too well.
To decide the controversy, the Cardinal Giulio de’
Medici, afterwards Pope Clement VII., commis-
sioned Raphael to paint this picture of the Trans-
figuration, and at the same time commanded from
Sebastian del Piombo the Raising of Lazarus,
which is now in our National Gallery (No. 1) :
both pictures were intended by the cardinal for his
cathedral at Narbonne, he having lately been
created Archbishop of Narbonne by Francis I.
Michael Angelo, well aware that Sebastian was a
far better colourist than designer, furnished him
153
ings of the lower world, we behold the source of
our consolation and of our redemption from evil.”
At this time the lovers of painting at Rome
were divided in opinion as to the relative merits
of Michael Angelo and Raphael, and formed two
great parties, that of Raphael being by far the
most numerous.
Michael Angelo, with characteristic haughtiness,
disdained any open rivalry with Raphael, and put
forward the Venetian, Sebastian del Piombo, as no
unworthy competitor of the great Roman painter.
Raphael bowed before Michael Angelo, and, with
the modesty and candour which belonged to his
character, was heard to thank Heaven that he had
been born in the same age and enabled to profit by
the grand creations of that sublime genius : but he
was by no means inclined to yield any supremacy
to Sebastian ; he knew his own strength too well.
To decide the controversy, the Cardinal Giulio de’
Medici, afterwards Pope Clement VII., commis-
sioned Raphael to paint this picture of the Trans-
figuration, and at the same time commanded from
Sebastian del Piombo the Raising of Lazarus,
which is now in our National Gallery (No. 1) :
both pictures were intended by the cardinal for his
cathedral at Narbonne, he having lately been
created Archbishop of Narbonne by Francis I.
Michael Angelo, well aware that Sebastian was a
far better colourist than designer, furnished him