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This pupil, Giulio Romano, was so familiar with every stroke of Raphael's that if he were deceived surely any one might be; so the replica was given to the Duke of Mantua, who never found out the difference. Years afterward Giulio Romano showed the picture to Vasari, believing it to be the original Raphael, neither Andrea nor the Medici having told Romano the truth.
For one of his pictures the very 'Raising of Lazarus' now in the National Gallery, which the Pope had ordered at the same time that he had ordered Raphael's 'Transfiguration' it is rumoured that Michael Angelo gave the designs and even drew the figures, leaving Sebastian the credit, and trusting that without Michael Angelo's name appearing in the work, by the help of his drawing in addition to Sebastian's superb colouring, Raphael would be eclipsed, and that by a painter comparatively obscure.
Michael Angelo's life was sternly lonely and sorrowful; Raphael's bright, happy, and placid. Michael Angelo lived long; Raphael died in early manhood.
But for this law, that threat of a Chicago syndicate to buy the Pitti Gallery and move its contents to the "lake front" might have been carried out. The Second Period of Raphael's life opens with his visit to Florence in Fifteen Hundred Four. He was now twenty-one years of age, handsome, proud, reserved.
Rome was to me first and foremost Michael Angelo's Sistine Chapel, Raphael's Stanzas and Loggias, and now all this magnificent array, which I had travelled so far to see, was closed to me by an old man's bad temper. But there was still enough to linger over in Rome.
It is a little box-wood Triton, carved with charming liveliness and truth; I have often compared it to a figure in Raphael's "Triumph of Galatea." It came to me in an ancient shagreen case, how old it is I do not know, but it must have been made since Sir Walter Raleigh's time. If you are curious, you shall see it any day.
This group by Wenceslas was to his later works what the Marriage of the Virgin is to the great mass of Raphael's, the first step of a gifted artist taken with the inimitable grace, the eagerness, and delightful overflowingness of a child, whose strength is concealed under the pink-and-white flesh full of dimples which seem to echo to a mother's laughter.
And so it came to pass that in Del Piombo's indolent genius Venetian color was blended with Florentine composition and a something of Raphael's manner in the few pictures which he deigned to paint, and the sketches were made for him, it is said, by Michael Angelo himself. The four pearls are equal; there is the same lustre and sheen, the same rounded completeness, the same brilliancy.
But, indeed, you are so familiar with Raphael's pictures that you need only to recall them to mind. This was painted under peculiar circumstances, in competition, you remember, with Sebastian del Piombo's Resurrection of Lazarus; and Sebastian was a pupil of Michael Angelo. Some writers have affirmed that that master aided his pupil in the drawing of the chief figures in his picture.
The edifice had probably been a country retreat, or castle of pleasure, during the occupation of Granada by the Moors, and rendered sufficiently strong to withstand any casual assault in those warlike times. The old man knocked at the portal. A light appeared at a small window just above it, and a female head looked out: it might have served as a model for one of Raphael's saints.
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