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It contains, for instance, the Sixtine Chapel, which is considerably older than the present church, having been built by Sixtus the Fourth, whose beautiful bronze monument is in the Chapel of the Sacrament, in Saint Peter's. It contains, too, Raphael's Stanze, or halls, and Bramante's famous Loggie, the beautiful architecture of which is a frame for some of Raphael's best work.
It has, like so much of Raphael's work, suffered restoration; and indeed these compositions from his hand no longer hold us as they used to do, whether because of that repainting or no, I know not. It is as a portrait painter we think of Raphael to-day, and as the painter of the Stanze at Rome; and therefore I prefer to speak of him with regard to his work in the Pitti Gallery rather than here.
In like manner, the Stanze and Loggie of the Vatican were the final outcome of the same process upon another line, suggested by Perugino and Fra Bartolommeo. Michelangelo adapted to his own uses and bent to his own genius motives originated by the Pisani, Giotto, Giacopo della Quercia, Donatello, Masaccio, while working in the spirit of Signorelli.
Thus we find him painting in the Sistine Chapel between 1484 and 1486, treating with the commune of Orvieto for the completion of the chapel of S. Brizio in 1489, joining in the debate upon the façade of S. Maria del Fiore in 1491, giving his opinion upon the erection of Michael Angelo's "David" at Florence in 1504, and competing with Signorelli, Pinturicchio, and Bazzi for the decoration of the Stanze of the Vatican in 1508.
So great, indeed, is the resemblance of treatment between the two painters that we know not well which owed the other most. Many groups of women and children in the Stanze, for example especially in the "Miracle of Bolsena" and the "Heliodorus" seem almost identical with Fra Bartolommeo's "Madonna della Misericordia" at Lucca.
Raphael and his pupils either disdained, or it may be feared to approach, the problem. Neither in the ceiling decorations of the Farnesina nor in the Stanze is there any attempt on a large scale to faire plafonner the figures, that is, to paint them so that they might appear as they would actually be seen from below.
Visitors to the Vatican will remember the spirited representation of this battle on the walls of Raphael's Stanze, designed by the immortal master, and executed by Giulio Romano, the largest historical subject ever painted.
"Do the Stanze interest you?" was Mallard's next question. "Very little, I am sorry to say. They soon weary me." "And the Loggia?" "I never paid much attention to it." "That surprises me. Those little pictures are my favourites of all Raphael's work. For those and the Psyche, I would give everything else." Miriam looked at him inquiringly. "Are you again thinking of the subjects?" he asked. "Yes.
Margaret" "Danaë" of Madrid The "Trinity" "Venus and Adonis" "La Fede." At last, in the autumn of 1545, the master of Cadore, at the age of sixty-eight years, was to see Rome, its ruins, its statues, its antiquities, and what to the painter of the Renaissance must have meant infinitely more, the Sixtine Chapel and the Stanze of the Vatican.
The creations of the monster then appeared, and the greatest of the humanisers lost some of his soul at sight of them, thenceforward unable to rid himself of their influence. From the stanze Narcisse took Pierre to the loggie, those glazed galleries which are so high and so delicately decorated. But here you only find work which pupils executed after designs left by Raffaelle at his death.
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