for the fine works that were afterwards executed by many other masters, to whom Fra Giovanni laid open the way, as will be related in the proper place.[1]
But to return to Raphael. His powers now becam developed to the utmost, and he received a commission from the Pope to paint a second room in the Vatican; that towards the great hall namely. At this time, also, our artist, who had now acquired a very great name, depicted the portrait of Pope Julius himself. This is an oil painting, of so much animation and so true to the life, that the picture impresses on all beholders a sense of awe as if it were indeed the living object: this portrait is now preserved in the church of Santa Maria del Popolo,[2] together with a very beautiful Madonna, executed at the same time by the same master. In the last named picture, which represents the Nativity of Christ, the Virgin is covering with a veil her divine Child;[3] the expression of whose countenance is of such wonderful beauty, and his whole person so clearly demonstrates the divinity of his origin, that all must perceive him to be truly the Son of God. Nor are the attitude and countenance of the Madonna less beautiful, they exhibit the perfection of grace with an expression of mingled piety and gladness. There is also a St. Joseph standing with both his hands supported on a staff, and contemplating the King and Queen of Heaven, with the adoration of a most righteous old man. Both these pictures are[4] exhibited to the people on all occasions of solemn festival.
Raphael had at this time acquired much fame in Rome, but although he had the graceful manner which was held by
- ↑ In the lives of Fra Giocondo and Liberale, which follow.
- ↑ Now in Florence, in the Pitti Palace, where there is also a copy of the same work. There is a replica, or duplicate, in the Tribune of the Uffizj, in the same city. That in our National Gallery needs no mention here. For the many duplicates and other copies, see Passavant, as before cited.
- ↑ Longhena mentions various pictures of the Virgin throwing a veil over or removing it from the divine Child, but of this, which comprises the figure of St. Joseph, we do not find it possible to obtain any information that is entirely satisfactory. The most probable conjecture is that it was the one called the “Madonna di Loretto,” and which has now disappeared. See Landon, Œuvres de Raphael. See also Passavant, as above cited, vol. ii. p. 126.
- ↑ Were exhibited, that is to say. —Masselli.
