sidered by Raphael, he resolved, since he could not attain to the eminence occupied by Michael Angelo on the point after which he was then labouring, to equal, or perhaps to surpass him in those other qualities that we have just enumerated, and thus he devoted himself, not to the imitation of Buonarroti, lest he should waste his time in useless efforts, but to the attainment of perfection in those parts generally of which we have here made mention.[1]
And well would it have been for many artists of our day if they had done the same, instead of pursuing the study of Michael Angelo’s works alone, wherein they have not been able to imitate that master, nor found power to approach his perfection, they would not then have exhausted themselves by so much vain effort, nor acquired a manner so hard, so laboured, so entirely destitute of beauty, being, as it is, without any merit of colouring and exceedingly poor in conception; but instead of this, might very possibly, by the adoption of more extended views and the endeavour to attain perfection in other departments of the art, have done credit to themselves as well as rendered service to the world.[2]
Having made the resolution above referred to, therefore, and learning that Fra Bartolommeo had a very good manner in painting, drew very correctly, and had a pleasing mode of colouring, although, with the intention of giving more relief to his figures, he sometimes made his shadows too dark: knowing all this, Raphael determined to adopt so much of the Monk’s manner as he should find needful or agreeable to him; to take a medium course that is, as regarded design and colouring, and mingling with what he obtained from the manner of Fra Bartolommeo, other qualities selected from the best that he could find in other masters, of many manners, he thus formed one, which was afterwards considered his own,[3] and which ever has been, and ever will be highly esteemed by all artists.
- ↑ We need scarcely remark,” observes Schorn, that in his partiality for Michael Angelo, Vasari here attributes that which was indeed the effect of Raphaers universality of genius, to his supposed rivalry wdth the firstnamed master. Puccini has an observation to the same effect.
- ↑ The remarks which Vasari here makes in regard to his fellow-students, are declared with reason by all writers who have noted the passage, to be more especially applicable to himself and his own works.
- ↑ The art of Raphael would indeed have remained most inert and lifeless,
