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Updated: May 15, 2025
Wherefore on one occasion, when the Duke of Ferrara showed to Pope Paul III a Triumph of Bacchus in oils, five braccia in length, and the Calumny of Apelles, painted by Benvenuto at that age after the designs of Raffaello da Urbino, which pictures are now over certain chimney-pieces belonging to his Excellency, that Pontiff was struck with astonishment that an old man of such an age, with only one eye, should have executed works so large and so beautiful.
And so well did the good Rossino contrive to manage his business, that, in addition to the above-named picture, he got from the hands of Jacopo a most beautiful portrait of Cardinal Giulio de' Medici, copied from one by the hand of Raffaello, and, into the bargain, a very beautiful little picture of a Christ Crucified, which, although the above-mentioned Magnificent Ottaviano bought it from the mason Rossino as a work by the hand of Jacopo, nevertheless is known for certain to be by the hand of Bronzino, who executed it all by himself while he was working with Jacopo at the Certosa, although it afterwards remained, I know not why, in the possession of Pontormo.
It is somewhat painful to think that Michelangelo could have lent a willing ear to the malignant babble of a man so much inferior to himself in nobleness of nature have listened when Sebastiano taunted Raffaello as "Prince of the Synagogue," or boasted that a picture of his own was superior to "the tapestries just come from Flanders."
I cannot remember any instances of those chiaroscuro washes which Raffaello handled in so masterly a manner, although Michelangelo frequently combined bistre shading with pen outlines. In like manner he does not seem to have favoured the metal point upon prepared paper, with which Lionardo produced unrivalled masterpieces.
Having carried this intention into execution, he began to draw in the Chapel of Pope Julius, where the vaulting had been painted by Michelagnolo Buonarroti, following both his methods and the manner of Raffaello da Urbino.
Many rooms and other ornaments were executed from the designs and under the direction of Raffaello da Montelupo, and then in the end by Antonio da San Gallo, and a loggia was wrought in stucco under the supervision of Raffaello, who also made the Angel of marble, a figure six braccia high, which was placed on the summit of the highest tower in the Castle.
He and Domenico Conti were employed among others in decorating the court of the Palazzo Vecchio on the occasion of Cosimo de' Medici's marriage with Leonora di Toledo. There are some altar-pieces of his in the church of Santo Spirito, Florence. SOLOSMEO, RAFFAELLO, and BERNARDINO DEL BUDA were three garzoni in Andrea's studio.
When the plates from these historical paintings, engraved by AUDRAN, reached Rome, it is related that the Italians, astonished, exclaimed: "Povero Raffaello! non sei piu il primo." But, when they afterwards saw the originals, they restored, to RAPHAEL his former pre-eminence. N deg. 43. A Sea-piece on a fine morning. A Landscape enlivened by the setting sun.
Five other statues are specified: "to wit, a Madonna with the child in her arms, which is already finished; a Sibyl, a Prophet, an Active Life and a Contemplative Life, blocked out and nearly completed by the said Michelangelo." These four were given to Raffaello da Montelupo to finish.
Whereupon a new Pope was elected in Leo X, who desired that the work begun should be carried on; and Raffaello thereby soared with his genius into the heavens, and received endless favours from him, fortunate in having come upon a Prince so great, who had by the inheritance of blood a strong inclination for such an art.
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