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Updated: May 11, 2025
That humane beauty after which Derain strives is to be found, I said, in Raffael: it is to be found also in the Parthenon. I think this preliminary essay should close, as it began, on a note of humility and with an explanation. Twenty years ago, when I was an undergraduate, I remember reading just after it was published M. Camille Mauclair's little book on the Impressionists.
Thus they set up Raffael, with whom thought and act were equally perfect; some distinguished followers have approached him, but none have equalled him. Thus, too, they set up Mozart as something unattainable in music; and thus Shakespeare in poetry. I know what you can say against this thought; but I only mean natural character, the great innate qualities. Thus, too, Napoleon is unattainable.
Good drawing must be inspired, it must be the natural manifestation of that thrill which accompanies the passionate apprehension of form. One word more to close this discussion. No critic is so stupid as to mean by "bad drawing," drawing that does not represent the model correctly. The gods of the art schools, Michelangelo, Mantegna, Raffael, &c. played the oddest tricks with anatomy.
The formation of a copy is not solved by the mere pre-existence of an original; the copyist of Raffael's Transfiguration must repeat more or less perfectly the process of Raffael. It would be easy to explain a thought from the image on the retina, and that from the geometry of light, if this very light did not present the very same difficulty.
It is not drama or anecdote or sentiment or symbolism that this would bring back to the plastic arts, but rather that mysterious yet recognizable quality in which the art of Raffael excels a calm, disinterested, and professional concern with the significance of life as revealed directly in form, a faint desire, perhaps, to touch by a picture, a building, or a simple object of use some curious over-tone of our aesthetic sense.
To me, it is the age of Lionardo, of Charles VIII and Francis I, of Cesare Borgia and Leo X, of Raffael, of Machiavelli, and of Erasmus, who carries us on to the second stage, the period of angry ecclesiastical politics, of Clement VII, Fontainebleau, Rabelais, Titian, Palladio, and Vasari.
Have we not the familiar young Raffael, painted by himself, and the Rembrandt, and the Titian, and the Rubens, and a hundred other self-drawn portraits, all flattering and all famous? Even so primitive man has drawn himself many times over, not indeed on this particular piece of reindeer horn, but on several other media to be seen elsewhere, in the original or in good copies.
It was hung with tapestry representing the Cartoons of Raffael, and their still vivid colours contrasted with the faded hangings and the dingy damask of the chairs and sofas. A mass of Cromwellian armour was huddled together in a corner of a long monkish gallery, with a standard, encrusted with dust, and a couple of old drums, one broken.
For instance, the fifteenth century movement that began with Masaccio, Uccello, and Castagno opened up a rich vein of rather inferior ore; whereas the school of Raffael was a blind alley. Cézanne discovered methods and forms which have revealed a vista of possibilities to the end of which no man can see; on the instrument that he invented thousands of artists yet unborn may play their own tunes.
They saw that, since the Renaissance, painters had been trying to do something different from what the primitives had done; but for the life of them they could not see what it was that the primitives did. They had the taste to prefer Giotto to Raffael, but the only genuine reason they could give for their preference was that they felt Raffael to be vulgar.
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