File:The early work of Raphael (1895) (14778067214).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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n England, one (L. V. 175) Egeria and her Nymphs, is inthe Museum of Naples. The most famous is the exquisite landscape,one of two in which the artist has introduced the myth of Cupid andPsyche, generally known as The Enchanted Castle (L. V. 162), now inthe possession of Lord Wantage. It was the remembrance of this picture in conjunction with the sightof Teignmouth which prompted the beautiful lines of Keats in a letter to-his friend J. R. Reynolds :— You know the Enchanted Castle, it doth standUpon a rock, on the border of a lake,Nested in trees, which all do seem to shakeFrom some old magic-like Urgandas sword.O Phoebus ! that I had thy sacred wordTo show this castle in fair dreaming wise,Unto my friend, while sick and ill he lies. The doors all look as if they oped themselves,The windows as if latched by Fays and Elves.And from them comes a silver flash of light,As frcm the westward of a summer night,Or like a beauteous womans large blue eyesGone mad thro olden songs and poesies.
Text Appearing After Image:
■fr «; <3 -*5 b? D So CLAUDE LORRAIN See ! What is coming from the distance dim ! A golden galley all in silken trim ! Three rows of oars are lightening, moment whiles Into the verdrous bosoms of these isles ; Towards the shade under the castle wall It comes in silence,—now tis hidden all. The clarion sounds and from a postern gate An echo of sweet music doth create A fear in the poor herdsman, who doth bring His beasts to trouble the enchanted spring— He tells of the sweet music and the spot To all his friends and they believe him not. Another constant patron of the artist at this period was Monseigneurde Bourlemont, who in 1644 went to Rome to obtain the Popes confirma-tion of his election to the Archbishopric of Toulouse. Between thatdate and the prelates second visit to Rome in 1667, Claude painted threelandscapes and a marine for him, Moses and the Burning Bush (L. V.161), Cephalus and Procris (L. V. 163), Apollo and the Cum<ean Sibyl(L. V. 164), Demosthenes on the S

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