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Updated: July 2, 2025
This is not always the case with the Cartoons, and the reverse process, everywhere adhered to in the Transfiguration, is what gives to that overrated last work of Sanzio its painfully artificial character. Titian himself in the St. Sebastian of Brescia, and above all in the much-vaunted masterpiece, The Martyrdom of St.
Then the child Sanzio loosened his little hand from his father's hold, and went forward, and stood before the master-potter. "I painted it," he said, with a pleased smile; "I, Raffaelle." Can you not fancy, without telling, the confusion, the wonder, the rapture, the incredulity, the questions, the wild ecstasy of praise, that followed on the discovery of the child artist?
Raphael Sanzio d'Urbino was the pupil of Pietro Perugino, but afterwards studied the works of Leonardo di Vinci and Michael Angelo.
He also no doubt attained in some of his works the "St. Paul" of the cartoon, the "Vision of Ezekiel," the "Virgin" of the Dresden Museum the summit of sublime art; but that which is the exception with Sanzio is the rule with the great Buonarroti.
He could not be any judge, a child of seven years, even though he were the son of that good and honest painter and poet, Giovanni Sanzio. The next morning was midsummer day.
He could even walk a little alone, though artificially supported, and ramble about the halls and galleries full of a prodigious quantity of pictures, from the days of Raffael Sanzio to those of Raffael Mengs. "The doctors think now we might try a little drive," said the monsignore one morning. "The rains have ceased and refreshed every thing.
Reverencing the mother's wish that the boy should be an artist, Giovanni Sanzio, proud of his delicate and spiritual beauty, took the lad to visit all the other artists in the vicinity. They also visited the ducal palace, built by Federigo the Second, and lingered there for hours, viewing the paintings, statuary, carvings, tapestries and panelings.
His real name was Van Coxciën, or Coxcyën, but he changed its form to Coxie. His son, Michel Coxie le Jeune, surnamed the Flemish Raphaël, was born in 1499, and first studied under his father. He was shortly placed with Bernard Van Orley, who sent him to Rome, where he might study the work of Raphaël Sanzio.
Only the presence of Guidobaldo kept it in anything like decent quietude, and even he, all duke though he was, felt his eyes wet and felt his heart swell; for he himself was childless, and for the joy that Giovanni Sanzio felt that day he would have given his patrimony and duchy. He took a jewel hung on a gold chain from his own breast and threw it over Raffaelle's shoulders.
He was considered at that time one of the greatest painters of the age; and the host, Giovanni di Sanzio, though himself only ranking in the second or third order of limners, knew well how to prize the rare talents of his visitor. The wife of Giovanni came forward, leading her son Raphael.
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