Of a truth, other pictures may be said to be pictures, but those of Raffaello life itself, for in his figures the flesh quivers, the very breath may be perceived, the pulse beats, and the true presentment of life is seen in them; on which account this picture gave him, in addition to the fame that he had already, an even greater name. And in addition there is a landscape, which is singularly beautiful in its absolute perfection. This work was executed so marvellously, that it arouses astonishment in whoever beholds it, wondering how it could have been possible to weave the hair and beards in such detail, and to give softness to the flesh with mere threads; and it is truly rather a miracle than the work of human art, seeing that in these tapestries are animals, water, and buildings, all made in such a way that they seem to be not woven, but really wrought with the brush. In it are seen shadows playing on the armour, other shadows projected, reflections, and a vaporous glare from the lights, all executed with darkest shade, and so well, that it may be truly said that he was the master of every other master; and as an effect of night, among all those that painting has ever produced, this is the most real and most divine, and is held by all the world to be the rarest. MDXX. This composition Raffaello painted over the window, where the wall is darkest; and thus, when you look at the picture, the light strikes you in the face, and the real light conflicts so well with the different lights of the night in the painting, that the smoke of the torch, the splendour of the Angel, and the thick darkness of the night seem to you to be wholly real and natural, and you would never say that it was all painted, so vividly did he express this difficult conception. The Life of Raphael Giorgio Vasari, Rick Scorza, Paul Joannides. And in a ddition to the details of the conceptions, which are numerous enough, there is the composition of the whole scene, which is truly arranged with so much order and proportion, that he may be said to have given therein such a proof of his powers as made men understand that he was resolved to hold the sovereignty, without question, among all who handled the brush. There, also, are Aristotle and Plato, one with the Timaeus in his hand, the other with the Ethics; and round them, in a circle, is a great school of philosophers. With a more than human beauty of expression in her countenance, she stands with her eyes uplifted towards Heaven, accompanied by two little boys, who are lively and spirited, and who make a group of beautiful variety both with her and with the others. $22.18. After these works, Raffaello was forced to depart from Florence and go to Urbino, where, on account of the death of his mother and of his father Giovanni, all his affairs were in confusion. O happy and blessed spirit, in that every man is glad to speak of thee, to celebrate thy actions, and to admire every drawing that thou didst leave to us! It is not possible to write of every detail in the works of this craftsman, wherein every least thing, although dumb, appears to have speech: save only of the bases executed below these pictures, with various figures of defenders and benefactors of the Church, and various terminal figures on either side of them, the whole being wrought in such a manner that everything reveals spirit, feeling, and thought, and with such a harmony and unity of colouring that nothing better can be conceived. Thames & Hudson. The Life of Raphael is a key text not only for the appreciation of Raphael’s art—whose development Vasari portrays in detail—but also for its unprecedented attention to theoretical issues. "Elegance diligence, and good manners" were the characteristics attributed to Raphael by his contemporaries, in whose presence "all bad emotions melted away" (Vasari).The author explores the short but intensive life and work of this "mortal god, " from the formative period at the refined court of Urbino, through contacts with the lively artistic centres of Umbria and Florence, to the fertile years in … Such unity was never greater at any other time than his; and this happened because they were overcome both by his courtesy and by his art, and even more by the good disposition of his nature, which was so full of gentleness and so overflowing with loving kindness, that it was seen that the very animals, not to speak of men, honored him. The themes of love and marriage chosen by Raphael for … He is clothed in a simple red garment by way of mantle, below which is a green tunic, after the manner of the Apostles, and his feet are bare. written by messer giorgio vasari, painter and architect of arezzo • • preface to the third part • leonardo da vinci As Vasari stated, "possessors of such rare and numerous gifts as were seen in Rafaello da Urbino, are not merely men, but mortal gods." His death was also a great grief to the whole Court of the Pope, first because he had held in his lifetime the office of Groom of the Chamber, and likewise because he had been so dear to the Pope that his loss caused him to weep bitterly. It is easy to point out what Vasari got wrong in his Life of Leonardo, and what he missed; in total he discusses only eight paintings, overlooking ten or so. Raffaello then painted for the Monastery of the Monks of Monte Oliveto, called S. Maria dello Spasmo, at Palermo, a panel picture of Christ bearing the Cross, which is held to be a marvellous work. The Life of Raphael is a key text not only for the appreciation of Raphael’s art whose development Vasari portrays in detail but also for its unprecedented attention to theoretical issues. In like manner, those that were painted likewise by him on the ceiling of the Palace of Agostino Chigi in the Trastevere did not give complete satisfaction, for they are wanting in that grace and sweetness which were peculiar to Raffaello; the reason of which, in great part, was the circumstance that he had them coloured by others after his design. Vasari's own Mannerist paintings were more admired in his lifetime than afterwards. For Bindo Altoviti, he made a portrait of him when he was a young man, which is held to be extraordinary; and likewise a picture of Our Lady, which he sent to Florence, and which is now in the Palace of Duke Cosimo, in the chapel of the new apartments, which were built and painted by me, where it serves as altar piece. For this work the Pope was pleased to reward him very richly; and the picture is still to be seen in Florence, in the guardaroba of the Duke. Now, the fame of this most noble craftsman, by reason of the aforesaid works and many others, having passed into France and Flanders, Albrecht Duerer, a most marvellous German painter, and an engraver of very beautiful copperplates, rendered tribute to Raffaello out of his own works, and sent to him a portrait of himself, a head, executed by him in gouache on a cloth of fine linen, which showed the same on either side, the lights being transparent and obtained without lead white, while the only grounding and coloring was done with watercolors, the white of the cloth serving for the ground of the bright parts. Format. Raffaello also formed a very great friendship with Lorenzo Nasi; and for this Lorenzo, who had taken a wife about that time, he painted a picture in which he made a Madonna, and between her legs her Son, to whom a little S. John, full of joy, is offering a bird, with great delight and pleasure for both of them. This he also proved in another scene in the same place, opposite to the last-named, of S. Peter in the hands of Herod, and guarded in prison by men-at-arms; wherein he showed such a grasp of architecture, and such judgment in the buildings of the prison, that in truth the others after him seem to have more confusion than he has beauty. Brand new. Borgo (II). Current slide {CURRENT_SLIDE} of {TOTAL_SLIDES}- Best Selling in Nonfiction. Raffaello received from Bembo the following epitaph: D. O. M.RAPHAELLI SANCTIO JOAN. See all. Over the whole, in truth, there seems to breathe a spirit of divinity, so beautiful are the figures, and such the nobility of the picture, which makes whoever studies it with attention marvel how a human brain, by the imperfect means of mere colors, and by excellence of draughtsmanship, could make painted things appear alive. In another medallion, on the side towards the window that looks over the Belvedere, is a figure of Poetry, who is in the form of Polyhymnia, crowned with laurel, and holds an antique musical instrument in one hand, and a book in the other, and has her legs crossed. Vasari's monumental Lives of the Painters was the first attempt to write a systematic history of Italian art. Wherefore those Counts rightly hold it in supreme veneration, nor have they ever consented, for all the vast prices that have been offered to them by many Princes, to sell it to anyone. This picture was held by Lorenzo Nasi, as long as he lived, in very great veneration, both in memory of Raffaello, who had been so much his friend, and on account of the dignity and excellence of the work; but afterwards, on August 9, in the year 1548, it met an evil fate, when, on account of the collapse of the hill of S. Giorgio, the house of Lorenzo fell down, together with the ornate and beautiful houses of the heirs of Marco del Nero, and other neighboring dwellings. And because he was always very ill content with this entanglement, he continued to delay the matter in such a way that many months passed without the marriage being brought to pass. But to return to Raffaello himself; in time he found himself very much hindered and impeded by the manner that he had adopted from Pietro when he was quite young, which he acquired with ease, since it was over-precise, dry, and feeble in draughtsmanship. But he, having purged himself of Pietro's manner, and having thoroughly freed himself of it, in order to learn the manner of Michelagnolo, so full of difficulties in every part, was changed, as it were, from a master once again into a disciple; and he [Pg 243] forced himself with incredible study, when already a man, to do in a few months what might have called for the tender age at which all things are best acquired, and for a space of many years. Free shipping. Over the first scene, wherein he painted Philosophy, Astrology, Geometry, and Poetry making peace with Theology, is a woman representing Knowledge, who is seated on a throne that is supported on either side by a figure of the Goddess Cybele, each with those many breasts which in ancient times were the attributes of Diana Polymastes; and her dress is of four colors, standing for the four elements; from the head downwards there is the color of fire, below the girdle that of the sky, from the groin to the knees there is the color of earth, and the rest, down to the feet, is the colour of water. Giorgio Vasari, "Life of Raphael". This illustrated standalone edition of Vasari’s Life of Raphael offers a new translation of this rich and remarkable ‘Life’, elegantly rendering Vasari’s literary text in modern terms. Giorgio Vasari was a painter and architect during the Italian Renaissance — a contemporary of Raphael and Michelangelo. We hear from the distinguished scholars Nicholas Penny and Tom Henry that Raphael was considered more important in his time than any other artist. By continuing to browse this site you agree to the use of cookies. New / Paperback / Quantity available: 0. In this work is a temple drawn in perspective with such loving care, that it is a marvellous thing to see the difficulties that he was for ever seeking out in this branch of his profession. It is said that the courtesy of Raffaello was such that he prevailed upon the masons, in order that he might accommodate his friends, not to build the walls absolutely solid and unbroken, but to leave, above the old rooms below, various openings and spaces for the storage of barrels, flasks, and wood; which holes and spaces so weakened the lower part of the masonry, that afterwards they had to be filled in, because the whole was beginning to show cracks. To the Counts of Canossa in Verona he sent a large picture of equal excellence, in which is a very beautiful Nativity of Our Lord, with a daybreak that is much extolled, as is also the S. Anne, and, indeed, the whole work, which cannot be more highly praised than by saying that it is by the hand of Raffaello da Urbino. In the composition of this work, Raffaello imagined to himself the sorrow that the nearest and most affectionate relatives of the dead one feel in laying to rest the body of him who has been their best beloved, and on whom, in truth, the happiness, honour, and welfare of a whole family have depended. In like manner he made the Marriage of Psyche, with ministers serving Jove, and the Graces scattering flowers over the table. Giorgio Vasari’s The Lives of the Most Famous Painters, Sculptors and Architects (1550 and 1568) is a classic of cultural history. XXXVII, INTEGER, INTEGROS.QUO DIE NATUS EST, EO ESSE DESIIT,VIII ID. For Raffaello received from nature a particular gift of making the expressions of his heads very sweet and gracious; of which we have proof also in the Madonna, who, with her hands pressed to her bosom, gazing in contemplation upon her Son, seems incapable of refusing any favour; not to mention that he showed a truly beautiful sense of fitness, giving a look of age to the expressions of the Holy Patriarchs, simplicity to the Apostles, and faith to the Martyrs. In this most divine picture there is a Dead Christ being borne to the Sepulchre, executed with such freshness and such loving care, that it seems to the eye to have been only just painted. And if Raffaello had remained content with this same manner, and had not sought to give it more grandeur and variety in order to prove that he had as good a knowledge of the nude as Michelagnolo, he would not have lost a part of the good name that he had acquired; but the nudes that he made in that apartment of the Borgia Tower where there is the Burning of the Borgo, although they are fine, are not in every way excellent. Raffaello, having thus seen the manner of the engravings of Albrecht Duerer, and desiring on his own behalf to show what could be done with his work by such an art, caused Marc' Antonio Bolognese to make a very thorough study of the method; and that master became so excellent, that Raffaello commissioned him to make prints of his first works, such as the drawing of the Innocents, a Last Supper, the Neptune, and the S. Cecilia being boiled in oil. How did he do it? 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