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Updated: September 8, 2025
Yet even in what seems this decadence of his talent Raphael only needed a new problem to revive his admirable powers in their full splendor. Among his latest works were the pendentives of the Farnesina, with the story of Cupid and Psyche works painted and even drawn by his pupils, coarse in types and heavy in color but altogether astonishing in freedom and variety of design.
Then, on the evening when he returned from the Farnesina, he declared that he had brought all the dead soul of ancient Rome away with him, and it was not the paintings executed after Raffaelle's designs that had touched him, it was rather the pretty hall on the river side decorated in soft blue and pink and lilac, with an art devoid of genius yet so charming and so Roman; and in particular it was the abandoned garden once stretching down to the Tiber, and now shut off from it by the new quay, and presenting an aspect of woeful desolation, ravaged, bossy and weedy like a cemetery, albeit the golden fruit of orange and citron tree still ripened there.
While he was working upon the halls of the Vatican Julius II. died. He was succeeded by Leo X., who also was a generous patron to Raphael, who thus suffered no loss of occupation from the change of popes. The artist became very popular and rich; he had many pupils, and was assisted by them in his great frescoes, not only in the Vatican, but also in the Farnesina Villa or Chigi Palace.
It was fortunate, perhaps, that the conditions of his task confined him to uncomplicated groupings, and a scale of colour in which white predominates. For Bazzi, as is shown by subsequent work in the Farnesina Villa at Rome, and in the church of S. Domenico at Siena, was no master of composition; and the tone, even of his masterpieces, inclines to heat.
If we are to believe the censorious Hare, the love of the hero's countrymen went rather far when the Roman municipality, to please him, tried to change the course of the Tiber in conformity with a scheme of his, and so spoiled the beauty of the Farnesina garden without effecting a too-difficult piece of engineering.
One painting representing the "Temptation of Monks by Dancing Women" carries the melody of fluent lines and the seduction of fair girlish faces into a region of pure poetry. These frescoes are superior to Sodoma's work in the Farnesina.
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