File:The early work of Raphael (1895) (14777888824).jpg

Identifier: earlyworkofrapha00adyj (find matches)
Title: The early work of Raphael
Year: 1895 (1890s)
Authors: Ady, Julia Mary Cartwright, d. 1924
Subjects: Raphael, 1483-1520
Publisher: London : Seeley and Co., Ltd. New York : E.P. Dutton and Co.
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Text Appearing Before Image:
his flowing locks of dark-brown hair. The black tunic isonlv sketchily painted, and the position of the cap has been shifted by theartist himself, during the progress of his work. The features resemblethe portrait of Perugino in the hall of the Cambio, and the generalcharacter of both face and dress agree with all that we know of thisable and prosperous master who painted heavenly faced saints to order,and at the same time had so keen an eye to his worldly interests.Many years ago, an acute critic the late Otto Miindler, pronouncedthis picture to be the portrait of Perugino by himself, and thepresent catalogue of the Borghese Gallery ascribes the work to thatmaster. But Perugino never painted a portrait so full of powerand vigour, so intensely real and living. The jet-black eyes sparklewith light, the nose and mouth, as Morelli remarked, are more sharplymodelled than in Peruginos work, and the hair is treated with trueRaphaelesque grace and feeling. The picture may be safely accepted
Text Appearing After Image:
Portrait of Perugino. By Raphael. In the Borghese Gallery, Rome.From a photograph by D. Anderson, by permission. THE EARLY WORK OF RAPHAEL 33 as a youthful work of Raphael, painted either before Peruginos de-parture in 1502, or during the brief visit which he paid to Perugia,in the autumn of 1503. Both as the portrait of the master withwhom he had been so closely connected, and as the first of a long lineof masterpieces in this direction, the Borghese picture is of the deepestinterest. Towards the end of 1503, Raphael received orders for two large altar-pieces from the churches of Citta di Castello. The death of AlexanderVI. had altered the state of affairs in Umbria, the dreaded Borgia hadfled, the Vitelli had returned to Citta di Castello, the Baglioni to Perugia,and peace was restored to the distracted land. It was then, according toVasari, that Raphael painted the Coronation of St. Nicholas of Tolentinofor the Augustinian monks of the hill-set city. This time he madeuse of a desig

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