File:The early work of Raphael (1895) (14800152393).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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echild, whose face is lifted in eager questioning to hers, while St. Johnkneels reverently at her feet. This picture is generally supposed tobe the one which Vasari mentions as having been finished by RidolfoGhirlandajo, who painted the Virgins blue mantle, after Raphael hadleft Florence. But it is doubtful if the picture to which Vasarialludes may not have been the Colonna Virgin, at Berlin, which waspainted later, and clearly executed by an inferior hand. These three pictures—the Cardellino, Prato, and Louvre Madonnas—rank among Raphaels most perfect creations. In all three the Virginsface is full of charm, the children are animated by the same freeand natural movement, and the landscape is of the same rich and:varied description. Tall pines and distant lakes, still waters sleepingin the shadow of blue mountains, heights crowned with castles andbell-towers adorn the background, and bear witness to Raphaels delightin the beauty of the natural world. The flowers and grasses of the
Text Appearing After Image:
La Belle Jardiniere. By Raphael. In the Louvre.From a photograph by Braun, Clement et Cie, by permission. THE EARLY WORK OF RAPHAEL 67 foreground, the very weeds and rushes, are painted with loving careand accuracy. We watch the fleecy white clouds floating across thesky, and the dim haze that rests on the hills through the summer day.Often the scenery recalls the Tuscan Apennines in the neighbourhood ofFlorence. In the Cardellino Madonna, for instance, we have a pictur-esque valley, such as you may see in the mountainous district at Vallom-brosa or La Vernia, with a single arched bridge spanning the torrent, onthe one hand, and on the other, the Duomo and Campanile of Giotto. The bride of Lorenzo Nasi, who received this fair wedding gift fromRaphael, was Sandra Canigiani, and it was for a member of her familythat the Canigiani Madonna at Munich was originally painted. Thispicture afterwards became the property of the Medici, and was given asa wedding present to Anne de Medici, daught

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