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"Well!" said Catesby, after some little pause, as if awaiting a remark from his companion. "'Tis beautiful!" said Lothair. "Is it by Raffaelle?" "No; by Fra Bartolomeo. But the countenance, do you remember ever having met such a one?" Lothair shook his head. Catesby took out another drawing, the same subject, the Blessed Virgin.
Raffaelle began by imitating implicitly the manner of Pietro Perugino, under whom he studied; so his first works are scarce to be distinguished from his master's; but soon forming higher and more extensive views, he imitated the grand outline of Michael Angelo.
So Raffaelle, unknown to any one else, worked on and on there in the attic while the tulips bloomed and withered, and the honeysuckle was in flower in the hedges, and the wheat and barley were being cut in the quiet fields lying far down below in the sunshine. For midsummer was come; the three months all but a week had passed by.
Nor will they consider it any disparagement to the all-accomplished Raffaelle to say of Ostade that he also was an Artist. We turn now to a work of the great Italian, the Death of Ananias. The scene is laid in a plain apartment, which is wholly devoid of ornament, as became the hall of audience of the primitive Christians.
Take Rubens, take Titian, take even Raffaelle, and you will see that their women were of robust build. Even their Virgin Marys have a motherly air.
Raffaelle looked up at Maestro Benedetto. "Then I claim the hand of Pacifica!" There was a smile on all the faces round, even on the darker countenances of the vanquished painters. "Oh, would indeed you were of age to be my son by marriage, as you are the son of my heart!" murmured Signor Benedetto. "Dear and marvelous child, you are but jesting, I know.
"See you!" he said, pointing in a kind of despair to the magnificent "Coming of Christ" "If Raffaelle or Angelo had dared to paint this in their day, the world would be taking a lesson from it now! If it were a modern man's work, that man would be a centre for hero- worship! But that a WOMAN should create such a masterpiece! and that woman my Angela!
With candles which he stole from the kitchen, and pencils which his pocket-money was hoarded to procure, he pursued his studies till late at night, and made many copies from Michael Angelo and Raffaelle, by which he became familiar thus early with the style and ruling character of the two greatest masters of the art.
We have, it is true, examples of an accelerated pace, by which young men achieved grand works; as in the Macedonian Alexander, in Raffaelle, Shakspeare, Pascal, Burns, and Byron; but these are rare exceptions. Nature, in the main, vindicates her law. Skill to do comes of doing; knowledge comes by eyes always open, and working hands; and there is no knowledge that is not power.
In order, however, more distinctly to exhibit their common ground of Invention, we will briefly examine a picture by Ostade, and then compare it with one by Raffaelle, than whom no two artists could well be imagined having less in common. The interior of a Dutch cottage forms the scene of Ostade's work, presenting something between a kitchen and a stable.
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