Repository: UIHistories Project: Book - Gregory Art Collection Catalog (Gregory) [PAGE 21]

EXTRACTED TEXT FROM PAGE:

/

39

St. Peter and St. Paul enveloped in a brilliant light, and distinctly seen b y A t t i l a a n d his Huns, who are exceedingly terrified. This is one of the latest in date of the frescoes and was evidently painted in honor of Leo X. Behind the pope Raphael has placed himself bearing a cross, and accompanied by his old master Perugiuo. There is a striking contrast In this picture between the calm majesty of the christian group and the disorderly army of the Huns displaying all the fury and terror of superstitious barbarians.

4.

The lUspale on the Holy Sacrament.--This

fresco is also

Excm®rm&sRAPHAEL SANZIO.—(1483-1590.) The greatest Of modern painters. He was born at Urbino, and at the age of 13 became the pupil of Perugino, a celebrated artist. At Florence lie studied the designs of Michael Angelo and Leonardo da Vinci, but was soon called to Rome by Julius I I , and there became a universal favorite in t h e papal court. Thesocalled Stanze of the Vatican were ex ecuted there, as also the Transfiguration, his Cartoons, and many of his Madonnas,which are now scattered throughout Europe. Raphael has three distinct styles or periods of painting. In the first he copied his master Peruglno,as can be seen plainly in his earlier works. The Roman style exhibits more freedom'of. manner, and finally, beassuumed some of the boldness ol conception of his great rival, M. Angelo, The Stanze, or rooms of the Vatican werebegnn by Raphael in histwenty-fiftbyear. They were already frescoed by other artists, but Pope Julius was so delighted with the Dispute on the Holy Sacrament, executed by Raphael, that he ordered the other frescoes to be effaced, ant! the whole work to be given into the " divine painter's" bands. 1. .loollo with the .liases.— In his fresco which is over the window in the second stanza or hall, Raphael lias represented groups of poets of different periods mingling with the muses, aud Apollo in their midst Homer, Virgil, Dante, Sappho, Horace. Ovid, Petrarch and his Laura. I t is said that Raphael first put a lyre in the hands of Apollo and then, changed > ' ' " ;1 violin as a complimentto Da Vinci, who bud conceived a violent passion for the hitler instrument. 2 . Inccndio Del iJorg-o.— This fresco gives the name to the first room in the line of apartments painted by Raphael, Its subject is the burning of the suburb of Home called the Borgo, daring the poatificate of St. Leo in 847. In the background St. Leo appears in the loggia of the ancient St. Peters, which was in the sight of the modern church, and by bis presence and blessing arrests the progress of the flames. In the foreground groups of terrified people are trying to escape. The tine group to the right represents.-55neas carrying his father Anchiscs and followed by his wife, thus showing that Raphael attempt' d to picture in some tl the burning Of Troy according to Virgil's description. This group was the work of Giulio Romano, the beil of Raphael's pupils. 3 . Flight of .Utiln the Bun,—Allila is being driven back from Home by Leo 1. The pope with the features of Leo X is seated on a white male, about hftn cardinals and attendants on horeeback.above him

•

called Theology and the title seems more applicable than the other. The picture is divided into two sections: in the center of the upper, Christ between Mary ..nd John the Baptist, above him a company of angels and God the Father, extending his right hand as if blessing his 14-H-- Son ; beneath Christ the dove, surrounded by four small angels who hold (he four gospels. Beginning on the left of Christ we find St. Peter, Adam, St. John, David and St. Stephen; on the right are St. Paul, Abraham, St. James, Moses, St. Lawrence and St. George. Beneath them is an altar and on either side of this the council of fathers of the church, popes, laymen, etc., are assembled. In the background on the right we recognize Dante, and near him Bavanaiola, a black-hooded monk. This fresco has been called " t h e huge.-: christian epic (hat painting ever traced." ">. The Liberation ol' Peter.—This picture is in three sections. In the upper part Peter is represented sleeping hi the dungeon between the watchmen and awakened by the angel ; at the right he is conducted away; at the left the watchmen awake. In this freHCO Raphael probably had no assistance from any of hi- pupils, and " t h e freedom and decision of (ouch of a great master is distinctly seen." The principal etl'ecl of the picture arises from the contrast between the different sources of light. The soldiers sleep under the dim light of a lamp, while the divine radiance which the angel diffuses . makes around him makes the prison glorious.

IJo/iO^**'

Miracle«Of Hoist int. -This fresco is in the same stanza with

" f n v L i l i e i a t i o n of refer.

I t records the supernatural conversion of a, priest, who having doubted the real presence of the Lord in the Eucharist, saw at the moment of consecration, drops of blood How from the wafer. Below the altar kneel women and children; opposite t h e priest Julius I I kneels with much calmness. This painting is one of t h e best e.\( cuted in all the Stanze.

^A. School of .flhens, or Philosophy. This is opposite the Dispute on the Holy Sacrament, and represents the different branches of ancien! philosophy and their expounders. Fifty-two people areassemI in an inim use vaulted hall. Statues of Apollo and Minerva stand .i niche.-in the foreground. In the center Plato and Aristotle stand, surrounded by a g i o u p of attentive listeners. Farther left Socrates is tructing t group of pupils, among whom Alciblades, the young war>, is seen. Lying on the steps in the center is Diogenes. The old man seated in the group to the left showing a boy a tablet is Pythagoras. In the group to the right the figure Stooping to the ground ami engaged in mathematical demonstration is Archimedes. Many other great philosophers and wise men of Greece tire depicted here. —not as correct por-