File:The early work of Raphael (1895) (14777910104).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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s with the following entry in the inventory of theUrbino Gallery: A little picture of a Madonna with Christ in her armson wood by Raphael. The description, however, might apply equallyto either of the two last-named pictures, or to the Cowper Madonna.The Virgin is seated in her lowly chamber, and bends tenderly over thechild, who, resting one foot on her right hand and holding on with bothhands to the hem of her bodice, looks round with a beaming face.A dark-red curtain hangs on the wall behind, and a row of jars and potsand wine-flask stand on the shelf above. It might be some Tuscancottage-home, where a young peasant-mother is nursing her first-bornchild. The same strong and joyous Child, the same Virgin with theyellow hair and gold-threaded veil, meet us in the little picture at Pan-shanger, bought by Lord Cowper when he was Minister at Florence atthe end of the last century. But here the Virgin is seated in the openair, and the sun shines on a well-known scene in the neighbourhood
Text Appearing After Image:
The Casa Tempi Madonna. By Raphael. Old Pinacothek, Munich.From a photograph by Hanfstdngl and Co., by permission. THE EARLY WORK OF RAPHAEL 53 of Florence—the hill of San Miniato with its tall cypresses, and the cupolaand campanile of Cronacas newly built church, la bella villanella whichMichelangelo loved. There is, perhaps, more actual charm and beauty inthis youthful Madonna and in the smiling child who clings with botharms about her neck, than in any other of Raphaels Virgins. Often as herepeated the same subject in his later Florentine days, endless and variedas are the changes which he was to ring on the old theme, he neversurpassed these four Madonnas. In their ideal loveliness and humantenderness they bear witness to the close study of nature which was onegreat result of his Florentine experiences. As we turn over those sheetscovered with countless sketches of mothers and children, which are stillto be seen in the Albertina or the British Museum, we feel that thesight of Li

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