,illustration3 ,,raphael ,,sanzio ,d' ,,urbino 7,,by ,,himself7 ,uffizi ,gallery1 ,florence ,masterpieces of ,art ,,raphael ,a ,,collection ,,of ,,fifteen ,,pictures ,,and ,a ,,portrait ,,of ,,the ,,painter ,,with ,,introduction ,,and ,,interpretation ,,edited ,,by ,,estelle ,m4 ,,hurll ,,boston ,,and ,,new ,,york ,,houghton ,,mifflin ,,company ,the ,riverside ,press ,cambridge ,copyright1 #ahii1 ,,by ,,houghton1 ,,mifflin ,,co 99 99 99 99 99 ,,preface ,the object of this collection of prints is to introduce the student to ,raphael through the pictures which appeal directly to the imagination with some story interest4 ,with this characteristic as the leading principle of choice1 the variety of subjects is perhaps as wide as the conditions admit4 ,no attempt is made to represent all the sides of the painter's art2 his portraits are ignored and his ,madonnas inadequately represented1 in order to give place to pictures which awaken as many points of interest as possible4 ,within these narrow limits ,raphael1 as an illustrator and a composer1 is even in these few pictures clearly represented4 ,had choice been limited to pictures painted throughout by ,raphael himself1 the value of the collection would have been seriously affected1 as some of the master's most interesting works were handed over to his pupils for execution4 ,our list1 however1 contains only such works as are at this date reckoned indisputably to be from ,raphael's own designs4 ,the text has only the modest aim of making the pictures intelligible4 ,critical explanations are beyond its scope1 and historical data are for the most part relegated to the accompanying tables4 ,the ,introduction is intended for teachers1 and contains suggestions for a comparative study of the pictures which may be carried out at discretion4 ,all the reproductions in this book are from photographs made directly from the original paintings4 ,in order to get the best results a careful comparison was made of the work of leading photographers4 ,the photographer of each picture is mentioned in the ,table of ,contents4 ,,estelle ,m4 ,,hurll4 ,,new ,,bedford1 ,,mass4 ,june1 #ahii4 99 99 99 99 99 ,,contents ,,and ,,list ,,of ,,pictures ,,portrait ,,of ,,raphael4 ,,painted ,,by ,,himself4 ,frontispiece4 ,,from ,,photograph ,,by ,,fratelli ,,alinari4 ,,introduction ,i4 ,,on ,,raphael',s ,,character ,,as ,,an ,,artist ,,ii4 ,,on ,,books ,,of ,,reference ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,iv4 ,,collateral ,,reading ,,from ,,literature ,v4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,raphael',s ,,life ,,vi4 ,,raphael',s ,,contemporaries ,i4 ,,the ,,madonna ,,of ,,the ,,chair ,,picture ,,from ,,photograph ,,by ,,fratelli ,,alinari ,,ii4 ,,abraham ,,and ,,the ,,three ,,angels ,,picture ,,from ,,carbon ,,print ,,by ,,braun1 ,,clement ,,co4 ,,iii4 ,,the ,,miraculous ,,draught ,,of ,,fishes ,,picture ,,from ,,photograph ,,by ,,thurston ,,thompson ,,iv4 ,,the ,,sacrifice ,,at ,,lystra ,,picture ,,from ,,photograph ,,by ,,thurston ,,thompson ,v4 ,,heliodorus ,,driven ,,from ,,the ,,temple ,,picture ,,from ,,photograph ,,by ,,fratelli ,,alinari ,,vi4 ,,the ,,liberation ,,of ,,peter ,,picture ,,from ,,photograph ,,by ,,fratrelli ,,alinari ,,vii4 ,,the ,,holy ,,family ,,of ,,francis ,i4 ,,picture ,,from ,,carbon ,,print ,,by ,,braun1 ,,clement ,,co4 ,,vii4 ,,st4 ,,catherine ,,of ,,alexandria ,,picture ,,from ,,photograph ,,by ,,franz ,,hanfstaengl ,,ix4 ,,st4 ,,cecilia ,,picture ,,from ,,photograph ,,by ,,fratelli ,,alinari ,x4 ,,the ,,transfiguration ,,picture ,,from ,,photograph ,,by ,,fratelli ,,alinari ,,xi4 ,,parnassus ,,picture ,,from ,,photograph ,,by ,,fratelli ,,alinari ,,xii4 ,,socrates ,,and ,,alcibiades ,,picture ,,from ,,photograph ,,by ,,giacomo ,,brogi ,,xiii4 ,,the ,,flight ,,of ,,aeneas ,,picture ,,from ,,photograph ,,by ,,fratelli ,,alinari ,,xiv4 ,,st4 ,,michael ,,slaying ,,the ,,dragon ,,picture ,,from ,,carbon ,,print ,,by ,,braun1 ,,clement ,,co ,,xv4 ,,the ,,sistine ,,madonna ,,picture ,,from ,,photograph ,,by ,,franz ,,hanfstaengl ,,xvi4 ,,portrait ,,of ,,raphael 7,see ,frontispiece7 ,,pronouncing ,,vocabulary ,,of ,,proper ,,names ,,and ,,foreign ,,words 99 99 99 99 99 ,,introduction ,i4 ,,on ,,raphael',s ,,character ,,as ,,an ,,artist4 ,no one of the old ,italian masters has taken such a firm hold upon the popular imagination as ,raphael4 ,other artists wax and wane in public favor as they are praised by one generation of critics or disparaged by the next2 but ,raphael's name continues to stand in public estimation as that of the favorite painter in ,christendom4 ,the passing centuries do not dim his fame1 though he is subjected to severe criticism2 and he continues1 as he began1 the first love of the people4 ,the subjects of his pictures are nearly all of a cheerful nature4 ,he exercised his skill for the most part on scenes which were agreeable to contemplate4 ,pain and ugliness were strangers to his art2 he was preeminently the artist of joy4 ,this is to be referred not only to his pleasure-loving nature1 but to the great influence upon him of the rediscovery of ,greek art in his day1 an art which dealt distinctively with objects of delight4 ,moreover ,raphael is compassionate towards mind as well as heart2 he requires of us neither too strenuous feeling nor too much thinking4 ,as his subjects do not overtax the sympathies with harrowing emotions1 neither does his art overtax the understanding with complicated effects4 ,his pictures are apparently so simple that they demand no great intellectual effort and no technical education to enjoy them4 ,he does all the work for us1 and his art is too perfect to astonish4 ,it was not his way to show what difficult things he could do1 but he made it appear that great art is the easiest thing in the world4 ,this ease was1 however1 the result of a splendid mastery of his art4 ,thus he arranges the fifty-two figures in the ,school of ,athens1 or the three figures of the ,madonna of the ,chair1 so simply and unobtrusively that we might imagine such feats were an every-day affair4 ,yet in both cases he solves most difficult problems of composition with a success scarcely paralleled in the history of art4 ,even the ,master himself seldom achieved the same kind of success twice4 ,his ,parnassus lacks the variety of the ,school of ,athens1 though the single figures have a similar grace1 and the ,incendio del ,borgo or ,conflagration in the ,borgo1 with groups equal in beauty to any in the other two frescoes1 has not the unity of either4 ,again1 while the ,parnassus and the ,liberation of ,peter show a masterly adaptation to extremely awkward spaces1 the ,transfiguration fails to solve a much easier problem of composition4 ,preferring by an instinct such as the ,greek artist possessed1 the statuesque effects of repose to the portrayal of action1 ,raphael showed himself capable of both4 ,the ,hellenic calm of ,parnassus is not more impressive than the splendid charge of the avenging spirits upon ,heliodorus2 the visionary idealism of the angel-led ,peter is matched by the vigorous realism of ,peter called from his fishing to the apostleship2 the brooding quiet of maternity expressed in the ,madonna of the ,chair has a perfect complement in the alert activity of the swiftly moving ,sistine ,madonna4 ,great as was ,raphael's achievement in many directions1 he is remembered above all else as a painter of ,madonnas4 ,here was the subject best expressing the individuality of his genius4 ,from the beginning to the end of his career the sweet mystery of motherhood never ceased to fascinate him4 ,again and again he sounded the depths of maternal experience1 always making some new discovery4 ,the ,madonna of the ,chair emphasizes most prominently1 perhaps1 the physical instincts of maternity4 ,she bends over the child1 says ,taine1 with the beautiful action of a wild animal4 ,like a mother creature instinctively protecting her young1 she gathers him in her capacious embrace as if to shield him from some impending danger4 ,the ,sistine ,madonna1 on the other hand1 is the most spiritual of ,raphael's creations1 the perfect embodiment of ideal womanhood4 ,the mother's love is here transfigured by the spirit of sacrifice4 ,forgetful of self1 and obedient to the heavenly summons1 she bears her son forth to the service of humanity4 ,sister spirits of the ,madonnas1 and hardly second in delicate loveliness1 are the virgin saints of ,raphael2 the ,catherine1 the ,cecilia1 the ,magdalene1 and the ,barbara are abiding ideals in our dreams of fair women4 ,the same sweetness of nature which prompted ,raphael's fondness for lovely women and happy children shows itself also in his delineation of angels4 ,the archangel ,michael1 the angel visitors of ,abraham1 and the celestial spirits appearing to ,heliodorus all follow closely upon the ,madonnas in the purity and serenity of their beauty4 ,in the same fellowship also belongs the beautiful youth in the crowd at ,lystra1 who is as sharply contrasted with his surroundings as if he were a denizen of another sphere4 ,the ideal is again repeated in the ,st4 ,john of the ,cecilia altar-piece1 whose uplifted face has a sweetness which is not so much feminine as celestial4 ,the angel of ,peter's deliverance is less successful than the artist's other angel types4 ,the head seems too small for the splendidly vigorous body1 and the face lacks somewhat of strength4 ,if ,raphael's favorite ideals were drawn from youth and womanhood1 it was not because he did not understand the purely masculine4 ,the ,a,eneas of the ,borgo fresco1 the ,paul of the ,cecilia altar-piece1 and the ,sixtus of the ,sistine ,madonna show1 in three ages1 what is best and most distinctive in ideal manhood4 ,raphael's type of beauty is not such as calls forth immediate or extravagant admiration3 it is satisfying rather than amazing1 and its qualities dawn slowly though steadily upon the imagination4 ,raphael holds always to the golden mean2 no exaggerated note jars upon the perfection of his harmonies4 ,for this reason his pictures never grow tiresome4 ,they stand the test of daily companionship and grow ever lovelier through familiarity4 ,without forcing the parallel1 we may say that something of the same spirit which animated the work of ,raphael reappears in the familiar poetry of ,longfellow4 ,the one artist had an eye for beautiful line1 the other had an ear for melodious verse1 and both alike shunned whatever was inharmonious1 always seeking grace and symmetry4 ,their subjects were1 indeed1 of dissimilar range4 ,raphael1 impressed by the scholarship of his time1 chose themes which were larger and more related to the experience of the world1 while ,longfellow was never very far removed from the golden milestone of domestic life4 ,yet in diverse subjects both turned instinctively to aspects of womanhood1 to what was refined and gently emotional1 and turned away from the violent and revolutionary4 ,,ii4 ,,on ,,books ,,of ,,reference4 ,within the last forty years the methods of criticism as applied to art have undergone so many changes that there has been a rapid succession of biographers and critics of ,raphael until the student reader of to-day scarcely knows whom to believe4 ,the time was when ,vasari1 in his important ,lives of the ,painters1 was the accepted source of information1 and all current writers borrowed unquestioningly from him both facts and opinions2 but the old chronicler was too often influenced by popular gossip and personal prejudice to be depended upon4 ,many of his stories are positively disproved by documentary evidence1 and for some years he has stood in dust and disgrace on the upper shelves of the bookcase4 ,from this exile a revised edition has recently brought him forth to fresh honors4 ,the joint work of ,mr4 and ,mrs4 ,e4 ,h4 ,blashfield with ,a4 ,a4 ,hopkins has given us an annotated text which we may read with equal pleasure and profit4 ,this is certainly the best of all reference books to put us in touch with the period in which ,raphael lived4 ,the ,german work on ,raphael by ,passavant1 once so weighty1 is now useful only to those who have opportunity to compare it with other authorities4 ,so likewise the work of ,crowe and ,cavalcaselle is no longer desirable as a sole authority4 ,even the splendid work of ,eugene ,muentz 7translated by ,walter ,armstrong71 the latest and most valuable of the comprehensive books on ,raphael1 must be read in the light of later criticism4 ,muentz's volume contains a complete list of the master's works1--frescoes1 easel pictures1 tapestries1 drawings1 and works in architecture and sculpture1--each class subdivided according to subject4 ,a few of the shorter biographies of ,raphael have been corrected according to the conclusions of the most recent critical scholarship1 as represented by ,morelli4 ,notable among these is the life of ,raphael in ,kugler's ,handbook of the ,italian ,schools1 revised by ,a4 ,h4 ,layard1 and the life of ,raphael included in ,mrs4 ,jameson's ,early ,italian ,painters1 revised by ,estelle ,m4 ,hurll4 ,the latest entirely new short biographies of ,raphael are those 7#a7 by ,mrs4 ,henry ,ady 7,julia ,cartwright71 issued in two parts as monographs for ,the ,portfolio3 the ,early ,work of ,raphael and ,raphael in ,rome1 and 7#b7 by ,h4 ,knackfuss in a series of ,german ,kuenstler-,monographien 7also published in an ,english translation74 ,both are well illustrated and useful books4 ,finally the student is referred to ,bernhard ,berenson's ,central ,italian ,painters of the ,renaissance for an exceedingly valuable estimate of ,raphael's character as an artist4 ,many books have been written on the separate works of ,raphael1--the ,vatican frescoes1 the cartoons1 the ,madonnas1 etc41--but as most of these are in ,german and ,italian they are not generally available4 ,the ,blashfield ,vasari enumerates a long list of them in the ,bibliography preceding the ,life of ,raphael4 ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,of ,,this ,,collection4 ,portrait frontispiece4 ,painted on wood1 #aejf1 as a gift from the painter to his uncle1 ,simone ,ciarla1 of ,urbino4 ,in #aehh the portrait passed from ,urbino to the ,academy of ,st4 ,luke1 ,rome4 ,later it was sold to ,cardinal ,leopoldo de' ,medici for the ,hall of ,portraits of the ,old ,masters in the ,uffizi ,gallery1 ,florence4 #a4 ,the ,madonna of the ,chair is a wood panel #b ft4 #d-c_/d in4 diameter4 ,it was painted between #aeaj-aead1 and is now in the ,pitti ,gallery1 ,florence4 #b4 ,abraham and the ,three ,angels is a mural painting in the fourth arcade of the ,loggie1 ,vatican ,palace1 ,rome4 ,it was executed by ,francesco ,penni4 #c1 #d4 ,the ,miraculous ,draught of ,fishes and ,the ,sacrifice at ,lystra are cartoons in distemper colors4 ,the execution was by ,raphael's pupils in #aeae-aeaf4 ,they were sent to ,flanders as designs for tapestries1 and discovered by ,rubens in a manufactory at ,arras1 #afcj2 ,charles ,i4 of ,england purchased them1 and they are now in the ,south ,kensington ,museum1 ,london4 #e4 ,heliodorus driven from the ,temple 7detail of the larger composition known by this name7 is a mural painting which gives the name to the ,camera d' ,eliodoro1 ,vatican ,palace1 ,rome4 ,the date of the painting is #aeaa-aeab4 #f4 ,the ,liberation of ,peter is a mural painting in the ,camera d' ,eliodoro1 ,vatican ,palace1 ,rome2 the execution is by ,giulio ,romano1 #aead4 #g4 ,the ,holy ,family of ,francis ,i4 is a canvas panel #h ft4 #i in4 by #e ft4 #c in41 painted for ,lorenzo de' ,medici1 and presented by the ,pope ,leo ,x4 to ,francis ,i4 of ,france2 hence the name4 ,it was executed by ,giulio ,romano in #aeah1 and is now in the ,louvre1 ,paris4 #h4 ,st4 ,catherine of ,alexandria is a wood panel #b ft4 #d in4 by ,i ft4 #i-a_/b in41 painted in #aejg1 and now in the ,national ,gallery1 ,london4 #i4 ,st4 ,cecilia is a panel painting which was transferred from wood to canvas4 ,it was painted about #aeaf for the ,church of ,s4 ,giovanni a ,monte1 ,bologna1 and is now in the ,bologna ,gallery4 #aj4 ,the ,transfiguration1 #ad ft4 #i in4 by #i ft4 #a-a_/b in4 ,raphael painted the upper part in #aeai1 and the picture was finished after his death by ,giulio ,romano4 ,it was ordered by the ,cardinal de' ,medici for the ,cathedral at ,narbonne 7,france71 but was retained in ,rome after the artist's death4 ,it was taken to ,paris during the ,french ,revolution1 and restored to ,rome in #ahae4 ,it is now in the ,vatican ,gallery4 #aa4 ,parnassus is a mural painting in the ,camera della ,segnatura1 ,vatican ,palace1 ,rome4 ,the date is #aeji-aeaa4 #ab4 ,socrates and ,alcibiades 7detail of the ,school of ,athens7 is a mural painting in the ,camera della ,segnatura1 ,vatican ,palace1 ,rome4 ,it was painted in #aeji-aeaa4 #ac4 ,the ,flight of ,a,eneas 7detail of the ,conflagration in the ,borgo71 a mural painting in the ,camera dell' ,incendio1 ,vatican ,palace1 ,rome4 ,it was executed by ,giulio ,romano about #aeae4 #ad4 ,st4 ,michael slaying the ,dragon1 a panel #h ft4 #i-a_/b in4 by #e ft4 #c in4 ,it was painted on wood and transferred to canvas4 ,it was ordered by ,leo ,x4 as a gift to ,francis ,i41 and was presented to him by ,lorenzo de' ,medici4 ,the execution is by ,giulio ,romano1 #aeah4 ,it is now in the ,louvre1 ,paris4 #ae4 ,the ,sistine ,madonna1 a canvas panel #h ft4 #h in4 by #f ft4 #e in41 was painted about #aeae for the high altar of the ,church of ,st4 ,sixtus1 ,piacenza1 and received its name from the portrait figure of ,st4 ,sixtus which it contains2 it was purchased by the ,elector of ,saxony in #agec-aged for the ,dresden ,gallery4 ,,iv4 ,,collateral ,,readings ,,from ,,literature4 ,in connection with ,st4 ,catherine3-- ,latin ,hymn1 ,vox ,sonora ,nostri ,chori1 ,st4 ,catherine's ,day4 ,translated by ,david ,morgan4 ,mrs4 ,jameson4 ,sacred and ,legendary ,art4 ,s4 ,baring-,gould4 ,lives of the ,saints4 ,volume for ,november4 ,in connection with ,st4 ,cecilia3-- ,s4 ,baring-,gould4 ,lives of the ,saints4 ,volume for ,november4 ,mrs4 ,jameson4 ,sacred and ,legendary ,art4 ,chaucer4 ,second ,nonnes ,tale4 ,dryden4 ,alexander's ,feast3 ,ode in honor of ,st4 ,cecilia's ,day4 ,in connection with ,parnassus3-- ,shelley4 ,hymn of ,apollo4 ,keats4 ,ode to ,apollo4 ,bulfinch4 ,age of ,fable4 ,in connection with the ,flight of ,a,eneas3-- ,virgil4 ,a,eneid1 ,book ,,ii4 ,translated by ,c4 ,p4 ,cranch4 ,in connection with ,socrates and ,alcibiades3-- ,fenelon4 ,lives of the ,philosophers4 ,translated by ,john ,cormack4 ,plato4 ,alcibiades1 ,the ,symposium1 ,protagoras4 ,translated by ,jowett4 ,milton4 ,paradise ,regained4 ,book ,,iv4 lines #bdj-bhe4 ,in connection with ,st4 ,michael and the ,dragon3-- ,milton4 ,paradise ,lost4 ,book ,,vi4 ,in connection with the ,sistine ,madonna3-- ,mrs4 ,jameson4 ,sacred and ,legendary ,art 7for ,st4 ,barbara74 ,v4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,raphael',s ,,life4 #adhc4 ,raphael born at ,urbino4 #adii4 ,raphael enters ,perugino's studio at ,perugia4 #aejd4 ,the ,marriage of the ,virgin4 #aejd4 ,raphael's first visit to ,florence4 #aeje4 ,raphael in ,perugia3-- ,the ,madonna of ,st4 ,anthony4 ,the fresco of ,san ,severo4 #aejf4 ,visit at ,urbino3-- ,raphael's portrait by himself4 #aejd-aejh4 ,the ,florentine ,period3-- ,granduca ,madonna4 ,tempi ,madonna4 ,madonna in the ,meadow4 ,the ,madonna del ,cardellino4 ,the ,belle ,jardiniere4 ,the ,canigiani ,madonna4 #aejh4 ,raphael called to ,rome by ,pope ,julius ,,ii4 #aeaa4 ,raphael frescoes the ,camera della ,segnatura4 #aeab4 ,raphael begins decoration of the ,camera d' ,eliodoro4 #aeac4 ,raphael commissioned by ,leo ,x4 to continue work begun under ,julius ,,ii4 #aead4 ,galatea4 #aead4 ,raphael appointed architect of ,st4 ,peter's by ,leo ,x4 #aejh-aeae4 ,some ,madonnas of the ,roman ,period3--,foligno ,madonna4 ,garvagh ,madonna4 ,the ,madonna of ,casa ,alba4 ,the ,madonna of the ,chair4 ,the ,sistine ,madonna4 #aeae4 ,camera dell' ,incendio completed under ,raphael's direction4 #aeae-aeaf4 ,cartoons for tapestries executed under ,raphael's direction4 #aeag4 ,farnesina frescoes painted under ,raphael's direction4 #aeai4 ,the ,transfiguration4 #aebj4 ,raphael died in ,rome4 ,,vi4 ,,some ,,famous ,,contemporaries ,,of ,,raphael4 ,,in ,,italy4 ,rulers3-- ,lorenzo de' ,medici 7reigned #adfi-adib7 and ,pietro de' ,medici 7#adib-adid71 dukes of ,florence4 ,giovanni ,galeazzo ,sforza 7reigned #adgf-adid71 ,lodovico ,maria ,sforza 7#adid-aejj71 and ,massimiliano ,sforza 7#aeab-aeae71 dukes of ,milan4 ,francesco ,maria della ,rovere1 duke of ,urbino 7born #adij2 died #aece74 ,ferdinand ,i4 7reigned #adeh-adid71 ,ferdinand ,,ii4 7reigned #adie-adif71 and ,ferdinand ,,iii41 kings of ,naples1 the last being he who was also king of ,spain as ,ferdinand ,v4 ,innocent ,,viii4 7#adhd-adib71 ,alexander ,,vi4 7#adib-aejc71 ,pius ,,iii4 7#aejc71 ,julius ,,ii4 7#aejc-aeac71 and ,leo ,x4 7#aeac-aebc71 popes4 ,painters3-- ,older group3-- ,perugino 7#addf-aebc74 ,bazzi 7#adgg-aedi74 ,leonardo da ,vinci 7#adeb-aeai74 ,bartolommeo 7#adge-aeag74 ,giorgione 7#adgg-aeaj74 ,titian 7#adgg-aegf74 ,giovanni ,bellini 7#adbh-aeaf74 ,compeers3-- ,andrea del ,sarto 7#adhf-aeca74 ,sebastian del ,piombo 7#adhe-aedg74 ,assistants and ,pupils3-- ,giulio ,romano 7#adib-aedf74 ,giovanni da ,udine 7#adhg-aefd74 ,francesco ,penni 7#adhh-aebh74 ,marc ,antonio 7#adhg-aeci71 engraver4 ,michelangelo 7#adgd-aefd71 sculptor4 ,bramante 7#addd-aead71 architect of ,st4 ,peter's4 ,sanazzaro ,jacopo 7#adeh-aecj or #aecb71 poet 7,de ,partu ,virginia74 ,ariosto 7#adgd-aecc71 poet 7,orlando ,furioso74 ,francesco ,berni 7#adif-aecf71 comic poet4 ,cardinal ,bembi 7#adgj-aedg71 celebrated scholar4 ,count ,baldasarre ,castiglione 7#adgh-aebi71 writer and patron of literature4 ,christopher ,columbus 7#adcf or #addf-aejf71 discoverer4 ,,in ,,portugal4 ,vasco da ,gama 7died #aebe71 discoverer4 ,,in ,,england4 ,richard ,,iii4 7#adhc-adhe71 ,henry ,,vii4 7#adhe-aeji71 ,henry ,,viii4 7#aeji-aedg71 kings4 ,sebastian ,cabot 7#adgg-ae871 discoverer4 ,,in ,,germany4 ,frederick ,,iii4 7#addj-adic71 emperor of ,austria1 and ,maximilian ,i4 7#adic-aeai74 ,martin ,luther 7#adhc-aedf71 religious reformer4 ,albert ,duerer 7#adga-aebh71 painter4 ,holbein 7#adih-aedc71 painter4 ,copernicus 7#adgc-aede71 astronomer4 ,,in ,,france4 ,charles ,,viii4 7#adhc-adih71 king4 ,rabelais 7#adhc or #adie-aeec71 satirist4 ,,in ,,spain4 ,ferdinand 7died #aeaf7 and ,isabella 7died #aejd71 king and queen1 beginning to reign in #adgd4 ,i ,,the ,,madonna ,,of ,,the ,,chair ,in early days an ,italian in addressing a lady used the word ,madonna1 which1 like the ,french word ,madame1 means ,my ,lady4 ,now he says ,signora2 ,madonna would have to him an old-fashioned sound4 ,to the rest of the world this word ,madonna has come to be applied almost wholly to the ,virgin ,mary1 with or without the child ,jesus2 and as ,raphael painted a great many pictures of the ,madonna for churches or other sacred places1 a name has been given to each1 drawn usually from some circumstance about it4 ,the ,madonna of the ,chair is so called because in this picture the ,virgin is seated4 ,she is sitting in a low chair1 holding her child on her knee1 and encircling him with her arms4 ,her head is laid tenderly against the child's1 and she looks out of the picture with a tranquil1 happy sense of motherly love4 ,the child has the rounded limbs and playful action of the feet of a healthy1 warm-blooded infant1 and he nestles into his mother's embrace as snugly as a young bird in its nest4 ,but as he leans against the mother's bosom and follows her gaze1 there is a serious and even grand expression in his eyes which ,raphael and other painters always sought to give to the child ,jesus to mark the difference between him and common children4 ,by the side of the ,madonna is the child who is to grow up as ,st4 ,john the ,baptist4 ,he carries a reed cross1 as if to herald the death of the ,saviour2 his hands are clasped in prayer1 and though the other two look out of the picture at us1 he fixes his steadfast look on the child1 in ardent worship4 ,around each of the heads is very faintly seen a nimbus1 as it is called2 that is1 the old painters were wont to distinguish sacred persons by a circle about the head4 ,sometimes1 as here1 the circle is a golden line only2 sometimes it is a gold band almost like a plate against which the head is set4 ,this circular form took the name ,nimbus from the ,latin word for a cloud1 as if the heads of sacred persons were in an unearthly surrounding4 ,it is also called a halo4 ,such a representation is a symbol or sign to indicate those higher and more mysterious qualities which are beyond the artist's power to portray4 ,this simple composition is a perfect round1 and if one studies it attentively one will see how curved and flowing are all the lines within the circle2 even the back of the chair1 though perpendicular1 swells and curves into roundness4 ,it is by such simple means as this that the painter gives pleasure to the eye4 ,the harmony of the lines of the composition makes a perfect expression of the peaceful group centred thus about the divine child4 ,illustration3 ,,madonna ,,of ,,the ,,chair ,pitti ,gallery1 ,florence ,it is a home scene and one such as ,raphael might have seen in ,rome in his own time4 ,not unlikely he saw a mother enfolding her child thus when he was taking a walk at the quiet end of day1 and caught at once a suggestion from the scene for a ,madonna4 ,there is indeed an old legend which grew up about this picture1 relating the supposed circumstances under which ,raphael found a charming family group which served him as a model1 and which he rapidly sketched upon the head of a cask2 the circular form of the picture is thus accounted for4 ,whether or not this pretty story is true1 it is certain that the ,madonna of the ,chair is a true picture of home life either in ,raphael's time or even in our own day4 ,the mother wears a handkerchief of many colors over her shoulders1 and another on her head like the ,roman scarf one still sees nowadays4 ,we may see what delight and reverence ,madonna pictures like this have awakened as we read the words of an old chant4 ,in quaint diction and with fanciful imagery the writer tried to express his feelings in the presence of a painting which1 if not this veritable ,madonna of the ,chair1 was certainly very like it4 ,when ,i view the mother holding ,in her arms the heavenly boy1 ,thousand blissful thoughts unfolding ,melt my heart with sweetest joy4 ,as the sun his radiance flinging ,shines upon the bright expanse1 ,so the child to ,mary clinging ,doth her gentle heart entrance4 ,see the ,virgin ,mother beaming6 ,jesus by her arms embraced1 ,dew on softest roses gleaming1 ,violet with lily chaste6 ,each round other fondly twining4 ,pour the shafts of mutual love1 ,thick as flowers in meadow shining1 ,countless as the stars above4 ,oh1 may one such arrow glowing1 ,sweetest ,child1 which thou dost dart ,thro' thy mother's bosom going1 ,blessed ,jesus1 pierce my heart4 ,,ii ,,abraham ,,and ,,the ,,three ,,angels ,in the story of ,abraham1 as related in our ,bible1 we read of the wandering and adventurous life of the patriarch as he moved from place to place4 ,in process of time he became very rich in cattle1 in silver1 and in gold4 ,he was as brave as he was industrious4 ,when ,lot1 his brother's son1 who dwelt in ,sodom1 was taken captive by some foreign kings who had conquered the king of ,sodom1 ,abraham armed his large company of servants and went to the rescue4 ,he recovered not only his nephew1 but all the booty which the victors had taken4 ,moreover1 ,abraham was a man of vision as well as of action1 a man who feared ,god and sought righteousness4 ,in his old age he was living with his aged wife ,sarah on the plains of ,mamre4 ,he sat in the tent door in the heat of the day1 the story goes on1#a and he lifted up his eyes and looked1 and lo1 three men stood by him3 and when he saw them1 he ran to meet them from the tent door1 and bowed himself toward the ground1 and said1 ',my ,lord1 if now ,i have found favour in thy sight1 pass not away1 ,i pray thee1 from thy servant3 let a little water1 ,i pray you1 be fetched1 and wash your feet1 and rest yourselves under the tree3 and ,i will fetch a morsel of bread1 and comfort ye your hearts2 after that ye shall pass on3 for therefore are ye come to your servant4' ,and they said1 ',so do1 as thou hast said4' ,footnote #a3 ,genesis1 chapter xviii41 verses #a-h4 ,and ,abraham hastened into the tent unto ,sarah1 and said1 ',make ready quickly three measures of fine meal1 knead it1 and make cakes upon the hearth4' ,and ,abraham ran unto the herd1 and fetcht a calf tender and good1 and gave it unto a young man2 and he hasted to dress it4 ,and he took butter1 and milk1 and the calf which he had dressed1 and set it before them2 and he stood by them under the tree1 and they did eat4 ,in the picture we see ,abraham welcoming his strange visitors in front of his simple dwelling-place4 ,he is dressed in ,oriental robes and bows himself to the ground after the custom of the ,eastern people1 who are noted for their courtesy4 ,he offers hospitality not as a favor to his guests1 but as a privilege which he craves from them4 ,his1 not theirs1 is the honor1 he seems to say4 ,the three angels have a mysterious air4 ,they are in human form1 and yet they are unlike ordinary visitors4 ,their attitudes1 the flowing of the robes1 their gestures1 all denote something unusual4 ,while the three stand with outstretched hands as if encouraging and blessing their host1 ,sarah peeps through the open door and listens to the talk4 ,a country landscape1 such as may be seen in the vineyards of ,italy1 stretches away in the distance4 ,raphael never traveled outside his own country1 and painted only such landscapes as were familiar to him4 ,illustration3 ,,abraham ,,and ,,the ,,three ,,angels ,vatican ,palace1 ,rome ,the picture was intended as an illustration of the ,bible4 ,in the days when ,raphael was painting1 though the art of printing had been invented1 only scholars and learned men could read books1 and those which were printed were rarely in the language which the people spoke4 ,men and women did indeed hear stories read out of the ,bible1 but they knew these stories chiefly from paintings1 and from carvings in wood and stone4 ,churches and monasteries1 palaces and public halls1 were adorned with fresco paintings1 and these storied walls formed the people's literature4 ,now the ,pope1 ,leo the ,tenth1 employed ,raphael to decorate parts of the ,vatican4 ,the ,vatican was the palace of the ,popes in ,rome1 and one of the open courts of the palace had a gallery or ,loggia1 as it is called1 built about its three sides4 ,raphael caused to be painted on the walls of this gallery festoons of flowers and fruit and sometimes animals1 all surrounded and entwined with graceful ornaments4 ,but it was the vaulted ceiling of the gallery that he treated with the greatest care4 ,he made a great series of pictures from scenes in the ,old ,testament1 and some from the ,new1 and his pupils painted these upon the ceiling1 so that it came to be known popularly as ,raphael's ,bible4 ,the ceiling is not flat1 and it does not stretch without break1 but the gallery is like a succession of arched porches1 and the ceiling of each is divided into panels1 sloping in four directions1 with a flat panel in the centre4 ,these panels are filled with charming pictures which you can see by standing with your head thrown back4 ,raphael's ,bible begins with the creation of the world2 then follow the history of ,adam and ,eve1 and ,noah and the deluge2 in the fourth section is the story of ,abraham told in four compositions4 ,thus1 besides this picture of ,abraham and the ,three ,angels1 there is the scene where ,lot and his family are fleeing from ,sodom1 and his wife is turned into a pillar of salt4 ,there is also the meeting of ,abraham and ,melchisedec 7after ,abraham's rescue of ,lot71 and a picture of ,god promising a long line of descendants to ,abraham4 ,in this open gallery the people of ,rome could walk and read the ,bible in a succession of pictures4 ,since these and similar pictures and statues and carvings were everywhere1 men1 women1 and children read them as they would read books1 and a popular painter was like a popular story-teller nowadays4 ,,iii ,,the ,,miraculous ,,draught ,,of ,,fishes ,another of the ,bible scenes which ,raphael painted was one which is told in the ,new ,testament concerning the ,lord ,jesus and his ,apostles4 ,some of these1 as ,peter and ,andrew1 ,james and ,john1 were fishermen who lived near the lake of ,gennesaret in ,galilee1 and had spent most of their lives in their boats4 ,they had been much with their ,master1 and sometimes left their boats to go with him through the country1 when he talked with them and healed the sick1 and told the glad tidings1 for that is what the word ,gospel means4 ,one day he had been using ,simon ,peter's boat as a sort of pulpit from which to speak to the people on the shore4 ,now when he had left speaking1 he said unto ,simon1 ',launch out into the deep1 and let down your nets for a draught1' ,and ,simon answering said unto him1 ',master1 we have toiled all the night1 and have taken nothing3 nevertheless at thy word ,i will let down the net4' ,and when they had this done1 they inclosed a great multitude of fishes3 and their net brake4 ,and they beckoned unto their partners1 which were in the other ship1 that they should come and help them4 ,and they came1 and filled both the ships1 so that they began to sink4 ,when ,simon ,peter saw it1 he fell down at ,jesus's knees1 saying1 ',depart from me3 for ,i am a sinful man1 ,o ,lord4' ,for he was astonished1 and all that were with him1 at the draught of the fishes which they had taken2 and so was also ,james and ,john1 the sons of ,zebedee1 which were partners with ,simon4 ,and ,jesus said unto ,simon1 ',fear not3 from henceforth thou shalt catch men4'#b ,footnote #b3 ,luke1 chapter v41 verses #d-aj4 ,in the picture we see the two boats laden with fish1 one containing ,jesus with ,peter and ,andrew1 and the other containing the partners hauling in the net4 ,the lake stretches away in the distance until it seems to meet the sky in a line of light at the horizon4 ,on the opposite shore are the people to whom ,jesus was speaking before the fishermen launched out4 ,others on the bank are watching to get some of the fish which are not hauled in4 ,there is a boat over there just pushing off4 ,fishhawks hover overhead1 and on the nearer shore are herons4 ,just as before in the ,madonna of the ,chair we saw how all the lines in the picture were drawn as it were in a circle1 so here it is the long horizontal line on which the picture is built3 the boats extending across the foreground1 the distant shore1 and the horizon line swelling into the upland4 ,some one has said that the boats are so placed that it looks as if the figures were slowly passing before the eye of the spectator4 ,illustration3 ,,the ,,miraculous ,,draught ,,of ,,fishes ,south ,kensington ,museum1 ,london ,now this picture is not1 like so many1 painted on canvas or on wood4 ,raphael was bidden to make designs for some great hangings or tapestries for the chapel in the ,vatican palace known as the ,sistine ,chapel4 ,he made his drawings1 cartoons they are called1 on a coarse kind of paper1 the pieces put together on a great frame1 and these cartoons were sent to ,arras in ,flanders1 where they were copied in tapestry by skillful artists4 ,raphael intended to represent scenes in the lives of the ,apostles1 and his series was in two groups of five each1 the first centring about the life of ,st4 ,peter1 the second about the life of ,st4 ,paul4 ,the tapestries are in the ,vatican palace1 but seven of the cartoons are in the ,south ,kensington ,museum in ,london4 ,there they are kept with great care1 but they have led a perilous life4 ,when they were sent to ,arras1 they were cut in strips for the convenience of the weavers1 and pricked with holes4 ,then after they had been copied in the tapestries1 they were thrown aside1 as so much waste paper1 and lay in a cellar1 neglected1 for a hundred years4 ,fortunately they were not destroyed1 and the fragments were found in #afcj1 by the great ,flemish painter ,rubens1 who knew their value4 ,he advised ,king ,charles ,i4 of ,england to buy them1 and they were still regarded as patterns for tapestries4 ,the king set up a manufactory at ,mortlake1 and some tapestries were made from these cartoons4 ,when the king was put to death1 ,cromwell bought the cartoons1 and put them away in some boxes at ,whitehall4 ,when ,charles ,,ii4 came to the throne1 he tried to sell them to ,france1 but was stopped1 and finally they found a home at ,hampton ,court ,palace4 ,a few years ago they were removed to their present place of keeping4 ,the original tapestries1 as we have said1 were designed for the ,sistine ,chapel1 but they were long ago removed from that place and are now preserved in the ,gallery of ,tapestries in the ,vatican4 ,the colors of the tapestries have faded1 but color never formed the chief attraction of these compositions4 ,what one always admired1 and can still admire in engravings and other copies1 is what we call the dramatic character of the picture1 the way in which the painter has so arranged his figures as to make them tell a story in a lively1 graphic fashion4 ,he can also1 as his eye is more and more trained1 discover the beauty which lies in the drawing of forms1 in masses and in lines4 ,for an engraving or a pencil drawing in black and white can give a great deal of pleasure1 and some painters make better pictures with pen and ink than they can with a paint-box and brushes4 ,,iv ,,the ,,sacrifice ,,at ,,lystra ,the ,sacrifice at ,lystra was another of the great tapestries1 and was in the second series of five which had to do with the life of ,st4 ,paul as recorded in the ,acts of the ,apostles4 ,the apostle was on a journey with his companion ,barnabas1 and they were teaching and healing as they went4 ,at ,lystra they had performed a wonderful cure in healing a man who had been a cripple from his birth4 ,and when the people saw what ,paul had done1 they lifted up their voices1 saying in the speech of ,lycaonia1 ',the gods are come down to us in the likeness of men1' ,and they called ,barnabas ,jupiter1 and ,paul ,mercurius1 because he was the chief speaker4 ,then the priest of ,jupiter1 which was before their city1 brought oxen and garlands unto the gates1 and would have done sacrifice with the people4 ,which1 when the apostles1 ,barnabas and ,paul1 heard of1 they rent their clothes1 and ran in among the people1 crying out1 and saying1 ',sirs1 why do ye these things8 ,we also are men of like passions with you1 and preach unto you that ye should turn from these vanities unto the living ,god4' 444 ,and with these sayings scarce restrained they the people1 that they had not done sacrifice unto them4#c ,footnote #c3 ,acts of the ,apostles1 chapter xiv41 verses #aa-ae1 #ah4 ,in the picture we see the two apostles standing on a platform at the left1 by the steps of a temple1 just as the crowd sweeps along from the other side with two oxen in the midst of them4 ,it was just such a sacrificial procession as was formed on the days when they honored their gods in the temples4 ,paul and ,barnabas receive the demonstration with dismay1 the former rending his garments1 and the latter clasping his hands in perplexity4 ,in the tumult of many figures we pick out five principal persons4 ,at the right is the restored cripple whose recovery is the origin of the excitement4 ,his folded hands1 raised in adoration1 come against the back of a youth who1 quick to see the apostles' displeasure1 reaches out an arm to stay the sacrifice4 ,his hand nearly touches the shoulder of the sturdy priest in front1 who is lifting his axe to deal the deathblow to the sacrificial ox4 ,the priest's up-raised hand is brought near the elbow of ,paul1 behind whom stands his fellow apostle4 ,thus there is a continuous chain extending across the picture to link together those who make up the plot of the story4 ,the most attractive face in the company is that of the youth in the centre1 eager and handsome among the stolid countenances surrounding him4 ,the apostles themselves are presently to join him in his efforts to restrain the people1 but for the moment1 single-handed among so many1 he springs forward fearlessly to oppose the purpose of the mob4 ,illustration3 ,,the ,,sacrifice ,,at ,,lystra ,south ,kensington ,museum1 ,london ,these five figures thus linked together carry the story1 but how abundantly the scene is enriched by the minor characters6 ,there are not a great many figures1 and each head is seen perfectly1 so that one can count the actual number of persons present2 but the first impression made on the eye is of a hurrying1 eager crowd4 ,as one looks more closely1 he discovers particular persons who help to fill out the story4 ,there are two priestesses kneeling beside the ox that is to be sacrificed4 ,one figure1 other than the cripple who has been healed1 is shown in the attitude of prayer4 ,perhaps the old man at the extreme right is drawing aside the robe of the cripple1 curious to see if there are any signs of the miracle1 or if that really was the leg which was helpless4 ,the two children who stand by the altar1 one playing the pipes1 the other with a book of music1 are very characteristic of ,raphael1 who loved thus to introduce a playful1 innocent element4 ,the singing child has his eyes bent on the ram which is led up for sacrifice4 ,raphael1 like other illustrators of the ,bible1 does not always follow exactly the text which he is to illustrate4 ,the people called ,barnabas ,jupiter1 and ,paul ,mercury4 ,this would seem to show that ,barnabas was a great1 imposing figure1 and ,paul1 according to tradition1 was a small1 undersized man2 but there is no such contrast to be seen here4 ,by a happy suggestion1 the painter has placed in the background on a pedestal a statue of ,mercury4 ,we know it by the winged staff which ,mercury is supposed to carry as a sign of his office of messenger of the gods4 ,raphael painted at a time when scholars and artists were enthusiastic over the rediscovery of the literature and art of the ancient world4 ,such a scene as this1 therefore1 appealed to him2 for he could not only depict a ,biblical incident1 but he could make his picture a study of ancient life4 ,the architecture1 the altar1 the figure of ,mercury1 the wreath-bound heads1 the sacrificial act itself1 were all such as he could imagine from ancient ,greece4 ,indeed1 the whole picture is like a copy of an antique bas-relief2 and in the original cartoon there is1 below the picture1 a decorative border studied from antique sculpture1 and below that still an ornamental edge which was very common in ,greek work4 ,and yet1 though ,raphael thus made much of the ,greek spirit in his design1 he was like all great painters of his day4 ,he did not try minutely to repeat ,greek life as he imagined it4 ,the men and women and children were like those he was wont to see in ,rome or ,florence1 or ,urbino1 where he was born1 and the headdresses were such as the women of his time wore4 ,v ,,heliodorus ,,driven ,,from ,,the ,,temple ,in the ,vatican palace there is one chamber in a series of chambers decorated with ,raphael's paintings which is called in ,italian ,stanza d',eliodoro1 or the ,heliodorus ,room4 ,the name is taken from the first of the paintings which cover the walls of the room4 ,the story which ,raphael told in this picture is taken from an incident in the history of ,jerusalem1 which is related in one of the books of the ,apocrypha and in ,josephus's ,history4 ,it was at a time when ,jerusalem was a prosperous city1 owing its good government to the upright and honorable character of the high priest ,onias4 ,through his efforts a large fund of money and treasure had been laid up for the relief of widows and orphans4 ,this treasure was stored in the sacred precincts of the temple and carefully guarded for the uses for which it was intended4 ,now it came about that a distant king heard of this valuable treasure and set his heart upon it4 ,he called his treasurer ,heliodorus1 and straightway sent him to ,jerusalem to bring back the treasure by fair means or foul4 ,heliodorus was a bold man ready for his evil task4 ,arriving at ,jerusalem1 he sought out ,onias and made his demand1 which1 as a matter of course1 was promptly refused4 ,heliodorus then prepared to take the treasure by force1 and1 accompanied by his men1 pushed into the temple amid the lamentations of the people and the prayers of the priests4 ,but just as the robbers had laid hands upon the coveted treasure1 a strange thing happened2 and this is what the old narrative relates3-- ,there appeared unto them a horse with a terrible rider upon him1 and adorned with a very fair covering1 and he ran fiercely and smote at ,heliodorus with his forefeet1 and it seemed that he that sat upon the horse had complete harness of gold4 ,moreover1 two other young men appeared before him1 notable in strength1 excellent in beauty1 and comely in apparel1 who stood by him on either side1 and scourged him continually and gave him many sore stripes4 ,and ,heliodorus fell suddenly unto the ground1 and was compassed with great darkness4#d ,footnote #d3 ,maccabees1 book ii41 chapter iii41 verses #be-bg4 ,illustration3 ,,heliodorus ,,driven ,,from ,,the ,,temple ,vatican ,palace1 ,rome ,in the picture the priests still kneel at the distant altar while the temple treasures are being borne away in heavy chests and jars4 ,meanwhile swift retribution overtakes the despoiler4 ,in gallops the mysterious gold-armored horseman1 his prancing steed crushing the prostrate ,heliodorus under his forefeet4 ,on rush the two celestial avengers1 springing through the air in great flying leaps4 ,their feet do not touch the ground as1 with outspread arms and wind-blown hair1 they bound lightly forward1 raising their scourges to drive out the enemy4 ,heliodorus vainly lifts his spear to save himself2 his men are panic-stricken2 his plot is undone4 ,and yet in all this the angelic avengers do not touch one of the prostrate or falling figures4 ,even the horse's hoofs are not planted on ,heliodorus4 ,the victory is not won by force1 but by the mysterious power of celestial spirits4 ,here is the way this picture affected a lover of art who stood before it3 ,the ,scourging of ,heliodorus is full of energy1 power1 and movement4 ,the horse and his rider are irresistible1 and the scourging youths1 terrible as embodied lightning2 mortal weapons and mortal muscles are powerless as infancy before such supernatural energies4 ,like flax before the flame--like leaves before the storm--the strong man and his attendants are consumed and borne away4 ,there is an interesting contrast in this great picture1 for while all this terrible action is going on at one side1 one sees in an opposite part a group of women and children1 looking on with astonishment and alarm4 ,near by is a figure carried in a chair on the shoulders of strong men4 ,this figure is ,pope ,julius ,,ii1 and the reason why ,raphael introduced him into the painting is as follows3-- ,julius was a warlike ,pope who had expelled the enemies of the church from the ,papal territories and enlarged the boundaries of these territories4 ,he was also a great patron of the arts4 ,he called on ,raphael to make designs for this chamber which should represent the miraculous deliverance of the church from her secular foes2 and as he was regarded as the chief instrument in the victory1 ,raphael made him present at this ,expulsion of ,heliodorus4 ,not only the walls of the ,heliodorus ,room are adorned with pictures1 but the ceiling also is covered with designs1 illustrating four ,old ,testament stories of divine promises to the patriarchs3 ,the ,promise of ,god to ,abraham of a numerous posterity1#e ,the ,sacrifice of ,isaac1 ,jacob's ,dream1 ,moses and the ,burning ,bush4 ,footnote #e3 ,sometimes interpreted as ,god appearing to ,noah4 ,probably ,raphael1 who had friends among the cardinals and other learned men of ,rome1 consulted them as to the selection of subjects for this room4 ,one can trace the thought which binds them all together4 ,on the ceiling we have ,god's promises made to his people of old1 while the pictures on the walls show how the same watchful ,providence delivered the church in later years4 ,,vi ,,the ,,liberation ,,of ,,peter ,on the wall below the design of ,jacob's ,dream1 in the ceiling of this same ,heliodorus ,room1 is the ,liberation of ,peter1 painted above and on each side of a window4 ,the story is taken from the ,acts of the ,apostles1 ,herod the king1 as the narrative says1 stretched forth his hands to vex certain of the church4 ,and he killed ,james the brother of ,john with the sword4 ,and because he saw it pleased the ,jews1 he proceeded further to take ,peter also4 ,the story of the imprisonment and liberation of ,peter now follows3-- ,and when he had apprehended him1 he put him in prison1 and delivered him to four quarternions of soldiers to keep him2 intending after ,easter to bring him forth to the people4 ,peter therefore was kept in prison2 but prayer was made without ceasing of the church unto ,god for him4 ,and when ,herod would have brought him forth1 the same night ,peter was sleeping between two soldiers1 bound with two chains2 and the keepers before the door kept the prison4 ,and behold1 the angel of the ,lord came upon him1 and a light shined in the prison2 and he smote ,peter on the side1 and raised him up1 saying1 ',arise up quickly4' ,and his chains fell off from his hands4 ,and the angel said unto him1 ',gird thyself1 and bind on thy sandals4' ,and so he did4 ,and he saith unto him1 ',cast thy garment about thee1 and follow me4' ,and he went out1 and followed him1 and wist not that it was true which was done by the angel2 but thought he saw a vision4#f ,footnote #f3 ,acts of the ,apostles1 chapter xii41 verses #d-i4 ,there is a succession of scenes in this story1 and as the window runs up into the wall1 it gave ,raphael an opportunity to distribute the successive incidents in the three divisions thus formed4 ,over the window1 accordingly1 is the scene of the awakening of ,peter4 ,the angel1 surrounded by a blaze of light1 comes and smites the sleeping apostle on the side1 but his action also indicates that he raises him and points to the door4 ,peter is shown bound by two chains1 each fastening him to one of the soldiers1 who are both asleep at their posts4 ,the bars through which we see the scene are the prison bars4 ,at the right of the window1 the angel is shown leading ,peter past the guards1 who are asleep on the steps4 ,the prison is indicated by the thick wall and solid masonry1 by the side of which the two figures are passing4 ,the soldiers by their attitude show how sound asleep they are1--one stretched out at half length1 trying to look as if he were awake1 the other with his head fallen forward1 and his hands clasped over his shield4 ,illustration3 ,,the ,,liberation ,,of ,,peter ,vatican ,palace1 ,rome ,in both of these scenes1 the apostle is marked by the sign of the nimbus1 which we saw in the first picture1 the ,madonna of the ,chair4 ,but if you look narrowly1 you will see that ,raphael has added that other sign by which ,peter is distinguished4 ,he carries a great key4 ,the reason is to be found in the words of our ,lord to him as recorded in the ,gospel of ,matthew1 the sixteenth chapter and nineteenth verse4 ,the key is a most fitting symbol here1 for it seems to imply that the apostle is himself opening the gates of his prison house4 ,the angel holds his hand1 as an older person might lead a child in the dark4 ,peter is too dazed to know what has really happened4 ,on the left is depicted the moment when the guards are awakened and discover that their prisoner has escaped4 ,it is an animated scene illustrating the simple words of the gospel narrative3 ,now as soon as it was day1 there was no small stir among the soldiers1 what was become of ,peter4 ,a man with a torch tells by his gesture that something extraordinary has happened1 and the one whom he arouses shows by his face and his uplifted hand how startled he is2 the light from the torch is too dazzling for another just awakened1 and the last of all appears to be the one whom we saw asleep over his shield4 ,even in this very inadequate copy of a great painting1 we can see what is the noblest and most pervading beauty4 ,it is the treatment of light4 ,the angel appears in the compartment over the window in a blaze of light1 and this light illuminates all the other figures4 ,so it is in the right-hand division1 and ,peter especially shows it1 for the side away from the angel is scarcely to be made out in the gloom4 ,in the left-hand division1 the torch1 the moon struggling through the clouds1 and the breaking of the dawn diffuse a light over the whole scene4 ,it is as if ,raphael meant to make it clear that the supernatural light from the angel was brighter and more intense than the light which falls from natural means4 ,thus the ,liberation of ,peter1 like the ,expulsion of ,heliodorus1 keeps in mind the power of the divine over the human4 ,some have thought1 besides1 that ,raphael had in his thought the recent delivery from captivity of ,leo ,x41 the ,pope who succeeded ,pope ,julius ,,ii41 for the decoration of the ,heliodorus ,room was done successively under these two popes4 ,,vii ,,the ,,holy ,,family ,,of ,,francis ,i ,there are a great many pictures by the old masters representing what is known as the ,holy ,family4 ,this is a group consisting of the mother and child1 with one or more additional figures4 ,the third figure is sometimes the infant ,john the ,baptist1 or it may be ,joseph the husband of ,mary2 a fourth figure is likely to be ,st4 ,elizabeth1 the mother of ,john the ,baptist1 and sometimes all five of these are shown in a group4 ,that is the case with the painting of ,the ,holy ,family by ,raphael1 which is now in the ,louvre gallery in ,paris1 and is called ,the ,holy ,family of ,francis the ,first1 because ,raphael painted the picture for that king of ,france4 ,it is not difficult to make out the several figures1 for the painter has followed the natural order4 ,the light falls chiefly on the child ,jesus1 who is springing up1 as ,mary lifts him from his cradle4 ,his happy1 joyous face is raised with a glad smile to the down-glancing mother4 ,she has eyes only for him1 and into her face there has come a look of sweet gravity which helps one to see that this is more than the play of a mother and child4 ,eagerly reaching forward to the golden-haired ,jesus is the swarthy ,john the ,baptist1 his hands folded in the gesture of prayer1 the cross which he carries as the herald of ,jesus leaning against his breast1 and a look of bright wonder in his face4 ,leaning over and holding him is his mother1 ,elizabeth1 whom the great painters were wont to figure as an old woman1 after the description of her in the gospel as well stricken in years4 ,she also gazes down at her child with a like expression of deep feeling1 as if she always carried about in her mind the wonderful scenes which attended his birth4 ,behind the group is ,joseph1 the husband of ,mary1 in an attitude which is very common in the old pictures4 ,he rarely seems to be a part of the group4 ,he stands a little way off looking on1 with a thoughtful air1 as if he were the guardian of this pair4 ,sometimes he is shown with a staff or crutch1 and it may be that here he rests his elbow on it1 while his head leans upon his half-closed hand4 ,all these are distinguished by the nimbus which encircles the head of a sacred person1 but the two other figures in the picture have no nimbus1 for they are angels1 as may be seen by the outstretched wing of one of them1 and by the pure unearthly expression on their faces4 ,one of these angels strews flowers over the child2 the other1 with hands crossed on the breast1 is rapt in adoration4 ,illustration3 ,,the ,,holy ,,family ,,of ,,francis ,i4 ,the ,louvre1 ,paris ,there is an opening which shows the sky1 and it almost seems as if the angels with crossed hands were listening to some divine melody that came in with the angelic visitors4 ,the whole scene is bathed in light1 and the longer we look the more we see the beauty of the lines which flow in the picture as if to some heavenly music4 ,all is action save in the grave1 contemplative figure of ,joseph2 and his serious1 resting attitude by its contrast makes more evident the leaping child1 the mother half stooping to lift him1 ,john the ,baptist pressing forward and ,elizabeth gently restraining him1 with the two flying1 radiant angels4 ,the power which a great painting has over us often makes us ask1 ,how did the painter do this8 did he think of everything beforehand8 did he paint the picture bit by bit1 or did he rapidly sketch it all as he meant to have it1 and then at leisure fill in the parts1 and add this or that8 ,we know something of how painters work1 and of the labor which they sometimes put into their pictures1 rubbing out and painting over4 ,a great master like ,raphael always gives a sense of ease to his work1 as though it cost him nothing4 ,but we know also that he took the greatest pains as he took the greatest delight in his work4 ,it happens that there exist drawings made by ,raphael when he was preparing to paint this very picture1 and it is interesting to see how he went to work4 ,he has a young woman in his studio take just the attitude which a mother would take who was about to lift her child4 ,that he may be sure to draw the form correctly1 he has her dress not fall below her knee1 and she has bare arms4 ,in this way he will know just how the arm and the knee will bend1 and how the muscles will show4 ,then he makes another drawing with the dress falling to the ground1 but with the arm bare4 ,finally he draws the arm with the sleeve over it4 ,it was by such studies that he made sure of drawing correctly4 ,they are like exercises in grammar4 ,but when he came to paint his picture1 he had not to think much about the correctness of his drawing2 his whole mind was intent upon making his peasant girl look as he imagined the ,virgin ,mary to look4 ,,viii ,,st4 ,,catherine ,,of ,,alexandria ,this is the legend of ,st4 ,catherine4 ,she was the daughter of ,king ,costis and his wife ,sabinella1 who was herself the daughter of the king of ,egypt4 ,when she came into the world1 a glory of light was seen to play around her head1 and when she was yet a little child1 she gave such signs of wisdom that she was a wonder to all about the court of ,egypt4 ,when she was no more than fourteen years old1 she was a marvel of learning4 ,she could have answered all the hard questions the ,queen of ,sheba asked ,solomon1 and she knew her ,plato by heart4 ,at this time her father died1 and so ,catherine became queen2 but this did not change her way of living4 ,she read her books and shut herself up in the palace to study4 ,now this did not please her nobles1 and they besought her to take a husband who should help her rule the people1 and who should lead them in war4 ,at this the girl asked them3-- ,what manner of man is this that ,i must marry8 ,and one of the nobles made answer3-- ,madam1 you are our sovereign lady and queen1 and all the world knows that you have four notable gifts4 ,first1 you are come of the most noble blood in the whole world2 second1 you have a great inheritance in your kingdom2 third1 you surpass all persons living in knowledge2 and fourth1 you are most beautiful4 ,so1 then1 you must needs take a husband that you may have an heir who shall be the comfort and joy of your people4 ,is it indeed so8 said the young queen4 ,then1 if ,god has given me such gifts1 ,i am the more bound to love him and please him1 and set small store by my wisdom and beauty and riches and birth4 ,he that shall be my husband must also possess four notable gifts4 ,he must be of so noble blood1 that all men shall worship him1 and so great that ,i shall never think ,i have made him king2 so rich1 that he will surpass all others in riches2 so full of beauty1 that the angels of ,god will desire to behold him2 and so benign1 that he will gladly forgive all wrong done unto him4 ,find me such an one1 and ,i will make him lord of my heart4 ,now there was a certain hermit who dwelt in the desert about two days' journey from ,alexandria1 and the ,virgin ,mary appeared to him and bade him go and tell ,catherine to fear not1 for she should have a heavenly bridegroom1 even her ,son1 who was greater than any monarch of the world1 being himself the ,king of ,glory1 and the ,lord of all power4 ,illustration3 ,,st4 ,,catherine ,,of ,,alexandria ,national ,gallery1 ,london ,until now the young queen had been a heathen1 but when the hermit showed her a picture of the ,lord ,christ1 she was so filled with wonder and devotion that she forgot her books and her learning and could think only of him4 ,and thus it came about that she had a strange dream1 in which she dreamt that she was brought to the ,lord1 and he said1 ,she is not fair or beautiful enough for me4 ,she woke in tears and sent for the hermit1 who came and taught her the ,christian faith4 ,she was baptized and her mother ,sabinella with her4 ,again she had a dream1 and this time the ,lord smiled on her1 and put a ring on her finger4 ,so now ,catherine despised still more earthly pomp and riches1 and being thus plighted to a heavenly bridegroom1 she refused more steadfastly all the attempts of her nobles to persuade her to be married4 ,the good ,sabinella sustained her in this1 but at last died1 and ,catherine was now left alone4 ,then came the great emperor ,maximin1 who persecuted the ,christians4 ,and he came to ,alexandria and called the ,christians together1 and commanded them1 on pain of torment1 to worship the heathen gods4 ,when ,queen ,catherine heard the uproar1 she came forth of the palace and stood before ,maximin4 ,she so used her learning1 that she silenced the emperor1 and he could make no reply4 ,thereupon he ordered fifty of his most famous wise men to dispute with her4 ,but she answered them so convincingly that they themselves became ,christians1 and ,maximin was in such a rage that he burned them to death1 yet they did not flinch4 ,then did the emperor drag ,catherine from her palace and cast her into a dungeon4 ,but the faithful queen prayed1 and angels came and ministered to her4 ,at the end of twelve days the empress came to visit her1 and found the dungeon filled with light and fragrant with sweet odors4 ,so she and two hundred of her attendants fell down at the feet of ,catherine and declared themselves ,christians4 ,when ,maximin found what had taken place he was filled with fury1 and put to death the empress and all the converts4 ,but he was so overcome with the beauty of ,catherine that he offered to make her empress if she would forsake ,christ4 ,when ,catherine exclaimed3 ,shall ,i forsake my glorious heavenly bridegroom to unite myself with thee1 who art base-born1 wicked1 and deformed8 ,then ,maximin bade his men make four wheels1 armed with sharp points and blades1 two turning in one direction1 two in another1 so that the tender body of the beautiful queen should be torn asunder4 ,so they bound her between the wheels1 and at the same moment fire came down from heaven1 and the destroying angel broke the wheels in pieces1 which flew off and killed the executioner4 ,then ,maximin1 with his heart of stone1 commanded that ,catherine be carried outside the city1 and scourged and then beheaded4 ,so it was done2 but when she was dead1 angels bore her body over the desert and over the ,red ,sea1 and laid it away on the top of ,mt4 ,sinai4 ,as for the tyrant1 he was slain in battle1 and the vultures devoured him4 ,in our picture of ,st4 ,catherine1 and in others like it1 she is shown standing by a wheel4 ,she leans upon it as if ready for martyrdom1 and looks upward as if she saw the fire coming down from heaven4 ,,ix ,,st4 ,,cecilia ,the legend of ,st4 ,cecilia is not so tragic as that of ,st4 ,catherine4 ,according to the story1 ,cecilia was a beautiful young girl who belonged to a noble ,roman family of the third century4 ,her parents were ,christians in secret1 and they brought her up in the faith4 ,she was a most devout scholar4 ,night and day she carried about with her a roll containing the ,gospel1 hidden within her robe4 ,she excelled in music1 and turned her good gift to the glory of ,god2 for she composed hymns which she sang with such sweetness1 that it was said the very angels descended from heaven to join their voices with hers4 ,not only did she sing1 but she played also on all instruments2 but she could find none which satisfied her desire to breathe forth the harmony which dwelt within her1 and so she invented a new one1 the forerunner of the organ1 and she consecrated it to the service of ,god4 ,st4 ,cecilia like ,st4 ,catherine was a martyr1 but the executioner who was to put her to death was so affected by her innocence that his hand trembled1 and the wounds he made did not immediately cause her death4 ,she lived for three days1 and as the story says3-- ,she spent 7these days7 in prayers and exhortations to the converts1 distributing to the poor all she possessed2 and she called to her ,st4 ,urban1 and desired that her house1 in which she then lay dying1 should be converted into a place of worship for the ,christians4 ,thus1 full of faith and charity1 and singing with her sweet voice praises and hymns to the last moment1 she died at the end of three days4 ,very naturally1 ,st4 ,cecilia was taken as the patron saint of musicians1 and is sometimes represented as seated at a modern organ4 ,in this picture she is shown holding in her hands an instrument of reeds1 which may be taken as the beginning of the organ of later days4 ,her eyes are raised1 and her head is upturned as she listens to the choir of angels shown above in the clouds1 their lips parted as they sing from open books4 ,she holds the instrument1 but she is so intent on the music she hears that it seems almost slipping from her hands4 ,indeed1 some of the tubes are already dropping out of their place2 and as the eye follows them1 it rests upon a number of other musical instruments lying on the ground1--the pipe1 the violin1 the tambourine1 castanets1 and others4 ,it is as if we were shown the various instruments which she had set aside as not satisfying to her1 and at last were shown her organ itself falling to pieces and dropping from her hands4 ,so faint and imperfect1 the painter seems to say1 are all these forms of earthly music when compared with the heavenly4 ,illustration3 ,,st4 ,,cecilia ,bologna ,gallery ,st4 ,cecilia is here in a company of other saints1 not indeed of her day and generation1 but chosen by ,raphael to give expression to various ideas and sentiments4 ,st4 ,paul1 the great apostle to the ,gentiles1 stands in a thoughtful attitude1 one hand carrying a scroll and resting on the hilt of a sword2 for in one of his epistles1 he speaks of the sword of the ,spirit1 which is the word of ,god4 ,he is listening1 and at the same time looks down upon the instruments as if he were thinking how his earthly words1 too1 were dull beside the voice of the ,spirit4 ,on the opposite side of the picture is ,mary ,magdalene4 ,she holds the pot of ointment with which she anointed the feet of ,christ1 and by the movement of her feet she seems just to have come into the scene1 and looks out of the picture as if she were bidding us and all other spectators look on the saint and listen to the angels4 ,perhaps the artist1 in choosing her for one of his figures1 was mindful of the words of the ,lord1 who praised her for bringing a precious gift1 without thinking of its worth1 simply because she loved him1 and wished to show her devotion4 ,so ,st4 ,cecilia poured out her music1 the richest gift she had1 not thinking how she could turn it into money and give it to the poor4 ,next to ,st4 ,paul1 behind him and ,st4 ,cecilia1 stands the evangelist ,st4 ,john4 ,painters and scholars alike have always seen in this figure the beloved disciple1 the one who leaned on the ,lord's breast at the last supper1 and they delight to show him as a young man of refined and beautiful countenance4 ,his hand1 with the parted fingers1 seems to make a gesture bidding one listen1 and his face has a look of rapture4 ,it was natural indeed that ,raphael should thus have placed in the company one whose gospel is full of feeling1 the life of ,christ set to music as it were4 ,finally1 we have ,st4 ,augustine1 one of the ,fathers of the church1 standing in his priestly robe and holding a bishop's crook4 ,he is apparently exchanging glances with ,st4 ,john4 ,perhaps he is designed to show that the church makes much of music in its service4 ,if we could see the painting itself with its beautiful color1 we should see even more distinctly not only how ,raphael thought out his design1 making his figures all have a harmonious relation to one another1 but how perfectly the composition1 in its lines1 its light and color1 expresses this musical harmony of heaven and earth4 ,x ,,the ,,transfiguration ,the ,transfiguration is a picture divided into two parts4 ,the lower part is filled with more figures than the upper and contains more action4 ,on one side are nine of the disciples of ,jesus2 on the other is a crowd of people in company with a father who brings his son to be healed4 ,he gives an account of his boy's sickness in these words3-- ,he is mine only child4 ,and lo6 a spirit taketh him1 and he suddenly crieth out2 and it teareth him that he foameth again2 and1 bruising him1 hardly departeth from him4#g ,footnote #g3 ,luke1 chapter ix41 verses #ch1 #ci4 ,the father calls upon the disciples1 in the absence of ,jesus1 to heal his son4 ,in the company with him1 we can make out two women kneeling by the boy4 ,we think it is the mother who supports him1 and looks at the disciples as she points to her son4 ,how quiet and self-possessed she is1 in contrast to the poor fellow's violence as shown in his position1 and his distorted hands4 ,she is wholly devoted to him1 and the mother shows in her face and bearing4 ,but the other kneeling woman1 who may be his sister1 carries a different expression as she points to the boy4 ,she looks toward the disciples with a severe and scornful air1 as if saying3 ,what6 you profess to heal the sick1 and you can do nothing for this poor sufferer6 ,the figures in the background are crying aloud and stretching out their arms for aid4 ,one can count the persons1 but it looks as if there were a crowd behind that we do not see1 all pressing forward4 ,on the other side of the picture are the disciples1 all eager1 with heads bent forward1 and each gesturing to express his meaning4 ,one1 younger than the others1 with his hand against his breast1 looks at the father with a pitying but helpless expression1 as if he would gladly help him if he only could4 ,another has an open book as though he were trying to find some word of comfort4 ,one is pointing out the boy to his neighbor1 and two in the background seem to be lost in perplexity4 ,but1 after all1 though most of the disciples are thus intent1 the eye quickly notes the action of a figure near the centre1 full of fire and energy1 who is pointing upward1 away from the group1 and calling upon the father and the women to look that way4 ,and the line of his arm thrust out is continued by that of another disciple behind him1 who also points upward4 ,for these two have seen the ,lord1 and they are bidding the troubled parents look the same way for help4 ,there1 above all this turmoil and confusion1 is a scene of dazzling light1 of which they alone seem to be aware4 ,illustration3 ,,the ,,transfiguration ,vatican ,gallery1 ,rome ,the upper part of the picture discloses the transfiguration of the ,saviour4 ,as the evangelist tells us1 he had taken ,peter and ,james and ,john with him1 and had gone up into a mountain to pray4 ,and as he prayed1 the fashion of his countenance was altered1 and his raiment was white and glistering4 ,and1 behold1 there talked with him two men1 which were ,moses and ,elias1 who appeared in glory1 and spake of his decease which he should accomplish at ,jerusalem4 ,but ,peter and they that were with him were heavy with sleep2 and when they were awake1 they saw his glory1 and the two men that stood with him4#h ,footnote #h3 ,luke1 chapter ix41 verses #bi-cb4 ,the scene shown is at the moment of the awaking of the three disciples1 one not daring to look up again1 but bowing his head and folding his hands in prayer4 ,they are dazzled with the glory4 ,this glory is a cloud of brightness which envelops the three figures of ,christ1 ,moses1 and ,elijah1 or as the ,greeks called him1 ,elias4 ,the ,saviour looks heavenward with rapture in his gaze4 ,on one side are seen two kneeling figures4 ,they are said to stand for the father and uncle of the ,cardinal who ordered the picture from ,raphael4 ,it was the fashion of the day thus to introduce a patron into a painting1 and ,raphael has made them as obscure as he well could4 ,we must not look at this great picture as if it were a panorama1 where a succession of scenes is witnessed1 or find fault with it because the ,bible says that the transfiguration took place on one day and the scene below took place the next day1 when ,jesus and his disciples had come down from the mountain4 ,nor is anything said in the ,bible which would lead us to suppose that ,jesus and the prophets were raised above the ground4 ,no2 what ,raphael intended was to draw a contrast between an earthly scene of suffering and a heavenly scene of peace and serenity2 and he took two scenes which lie next each other in the scripture narrative4 ,that was his thought1 and see how wonderfully he has expressed this contrast throughout6 ,there is the dark confusion and helplessness and grief below2 above is a scene of light which is like a vision1 and this vision two of the disciples see2 and as we have pointed out1 a contrast is made evident in various parts of the picture4 ,indeed1 the painting is made up of contrasts2 and not the least noticeable is that of the solid mass below1 square shaped1 and the light1 pyramid-shaped composition above4 ,the ,transfiguration was the last painting to which ,raphael set his brush1 and it was still unfinished when he was suddenly stricken with fever and died4 ,as his body lay in state1 in the hall where he had been working1 this great picture was hung at the head1 and the people who came in fell to weeping when they saw it4 ,,xi ,,parnassus ,raphael was but twenty-five years old when he was bidden adorn a room in the ,vatican palace1 and he made the four walls answer to four divisions in the ceiling1 just as afterward in the ,heliodorus room4 ,the four divisions in the ceiling were filled with four figures1 representing ,theology1 ,poetry1 ,philosophy1 and ,justice4 ,beneath ,poetry was this large1 full design of ,parnassus4 ,illustration3 ,,parnassus ,vatican ,palace1 ,rome ,parnassus1 in the old ,greek myth1 was the mountain on which the muses were wont to meet1 and here ,apollo had his chief seat4 ,here1 in the fancy of the ancients1 the poets and historians and dramatists came to draw inspiration4 ,so ,raphael has made a great company of gods and goddesses1 and ancient and modern poets4 ,by means of the accompanying diagram1 all the figures in the composition can be made out4 ,as it is an imaginary scene1 ,raphael was free to bring together poets of different ages and countries1 grouping them by the natural association of one with another4 ,in this mythic realm time and space are as nothing1 and the poets are united in the higher fellowship of the inspired imagination4 ,illustration3 ,,key ,,to ,,parnassus #a4 ,apollo #b4 ,calliope #c4 ,polymnia #d4 ,clio #e4 ,erato #f4 ,terpsichore #g4 ,euterpe #h4 ,thalia #i4 ,urania #aj4 ,melpomene #aa4 ,unknown #ab4 ,virgil #ac4 ,homer #ad4 ,dante #ae4 ,scribe #af4 ,berni #ag4 ,petrarch #ah4 ,corinna #ai4 ,alcaeus #bj4 ,sappho #ba4 ,plautus #bb4 ,terence #bc4 ,ovid #bd4 ,sannazzaro #be4 ,cornelius ,gallus #bf4 ,anacreon #bg4 ,horace #bh4 ,pindar ,it is interesting to note how the painter has brought them together4 ,apollo1 of course1 as the god of poetry and music1 occupies the central position1 seated beneath some laurel trees1 near the sacred fountain of ,hippocrene1 with the nine ,muses circling about him4 ,apollo is always spoken of as playing the lyre1 but ,raphael gives him a violin1 because the action in playing that instrument is so graceful4 ,some think also he meant to pay a compliment to a famous violinist of that day4 ,calliope1 the muse of epic poetry1 rests for a moment the long trumpet whose epic strains are wont to stir the courage of men4 ,polymnia1 the muse of sacred poetry1 leans upon the lyre whose vibrant strings thrill the gentler emotions of faith and love4 ,blind old ,homer advances chanting the adventures of the ,greek heroes1 and an eager youth writes down the verses4 ,behind him are ,virgil and ,dante1 and ,virgil seems to be calling on ,dante to listen to ,apollo4 ,another group shows ,pindar1 a very aged figure1 reciting his impassioned odes to ,horace and another poet1 who listen with admiration4 ,plautus and ,terence1 two writers of ,latin comedy1 walk together in pleasant companionship4 ,it was not an easy matter to dispose of the many figures and groups in a space cut into1 as this wall is1 by a window1 but how free and how natural is the arrangement6 ,it was among the first great paintings which ,raphael executed in the ,vatican1 and the grace and harmony which mark his later works are here shown4 ,the picture is interesting also as another illustration of the great revival of learning which took place in ,raphael's day4 ,the old literature of ,greece and ,rome had been rediscovered4 ,for centuries it had lain like a buried city1 forgotten under the ignorance and the fighting of the ,middle ,ages4 ,now it was brought to light1 and the recovered treasure was the common possession of ,italy1 not indeed so much of the plain people as of the learned men and the artists4 ,raphael1 as an artist1 took delight in the statues which had been found1 and the other signs of ,greek and ,roman art2 but it is not to be supposed that he would know ,homer and ,virgil and ,horace and ,pindar and ,sappho at first hand4 ,he had1 however1 friends among the learned men1 who could tell him of the treasures of classic literature1 and his imagination was quick to seize this material and adapt it to artistic purposes4 ,,note4--,the key to ,parnassus on page #fa is based on the description of the painting in ,cav4 ,e4 ,g4 ,massi's ,descrizione delle ,gallerie di ,pittura nel ,pontificio ,palazzo ,vaticano1 the authoritative guide-book to the ,vatican4 ,miss ,eliza ,allen ,starr1 in her monograph on the frescoes of the ,camera della ,segnatura1 called ,the ,three ,keys1 identifies some of the figures differently1 following the authority of ,dandolo's lectures4 ,the unknown figure she calls ,sordello4 ,,xii ,,socrates ,,and ,,alcibiades ,in the same room which holds ,parnassus1 with ,poetry above on the ceiling1 there is another wall painting by ,raphael1 which commonly bears the name of ,the ,school of ,athens1 though that name was not originally applied to it4 ,in the ceiling above is a figure representing ,philosophy1 and the picture below carries out the idea in its presentation of an assembly of scholars4 ,just as in ,parnassus ,raphael brought together as in a beautiful dream the god of poetry1 the nine muses1 and famous poets of the ancient and what was to him the modern world1 so1 in the ,school of ,athens1 he has assembled a great company of philosophers1 chiefly out of the famous line of ,greek scholars4 ,in a general way he has divided the assembly into two groups1 one of men who devote themselves to pure thought1 the other of those who apply their thought to science1 like geometry1 arithmetic1 astronomy1 and music4 ,there are more than fifty figures in this great painting4 ,raphael has made it clear whom he meant to represent1 in many cases4 ,they were the philosophers1 whom his friends among the cardinals and learned men were so enthusiastic about4 ,but he has also gathered about these teachers those who might be their pupils2 they are in many cases young ,italians of his own day2 indeed1 he has even pictured himself coming in with a fellow artist4 ,what interested him was to paint a great number of persons who should show by their faces and their attitudes that they were busy1 in an animated way1 over what was worth thinking about4 ,he placed them in a noble hall1 with a domed recess at the end1 such as a great architect of his day might have built4 ,he showed a noble colonnade of pillars1 and he placed in niches statues of the old ,greek gods like ,apollo and ,minerva1 who would be supposed to take an interest in what was going on4 ,the picture is so large and has so many figures that it would not be easy to reproduce it here1 and give a good idea of its various parts2 so a portion only is shown1 depicting what is commonly known as the group of ,socrates and ,alcibiades4 ,socrates can surely be distinguished1 for he had a singular face and head4 ,some have thought the companion was not ,alcibiades1 but ,xenophon4 ,it does not greatly matter4 ,each was his companion and pupil1 when he was living4 ,xenophon wrote a narrative of his master's life and death4 ,alcibiades is often mentioned in the dialogues of ,plato1 who also has preserved for us the great sayings of ,socrates4 ,two or three men stand about1 listening to a discussion which ,socrates is having with his companion4 ,illustration3 ,,socrates ,,and ,,alcibiades ,vatican ,palace1 ,rome ,the chief interest centres in ,socrates1 who seems to be explaining his principles1 telling them off1 one by one1 on his fingers4 ,in the old accounts which we have of this philosopher1 he is shown to have been a man who had thought deeply about the most important things1 but used the plainest1 most homely speech when he was trying to make his meaning clear4 ,his plain face and eccentric figure were a familiar sight in the market places1 where he used to linger1 drawing young men into conversation1 by which he tried to show them the better things of life4 ,alcibiades was1 as ,socrates acknowledged1 the fairest and tallest of the citizens2 he was also among the noblest of them1 and the nephew of the powerful ,athenian1 ,pericles4 ,moreover1 he was rich1 though this was a smaller matter4 ,all these things1 however1 had lifted ,alcibiades up2 and with the vanity of youth1 he was ambitious for a great oratorical career1 without having in reality any sufficient preparation4 ,it is at this juncture that he falls in with ,socrates1 who begins to question him kindly about his plans4 ,the young man confesses his ambitions1 and the philosopher innocently asks him where and how he has made his preparatory studies4 ,alcibiades seems to think that the ordinary subjects of oratory1 such as questions of war and peace1 justice and injustice1 need no special knowledge but that learned of the people4 ,i cannot say that ,i have a high opinion of your teachers1 says the shrewd old philosopher2 you know that knowledge is the first qualification of any teacher8 ,alcibiades4 ,certainly4 ,socrates4 ,and if they know1 they must agree together and not differ8 ,alcibiades4 ,yes4 ,socrates4 ,and would you say that they knew the things about which they differ8 ,alcibiades4 ,no4 ,socrates4 ,then how can they teach them8 ,alcibiades4 ,they cannot4#i ,so little by little1 as one question follows another1 ,alcibiades comes to see that the popular knowledge upon which he depends is a very weak and variable thing4 ,he confesses at last his own folly1 and declares his resolution to devote himself to thoughtful study4 ,footnote #i3 ,from ,plato's dialogue1 ,alcibiades1 ,jowett's translation4 ,,xiii ,,the ,,flight ,,of ,,aeneas ,in the series of rooms in the ,vatican palace1 of which one contains ,parnassus1 and another the ,expulsion of ,heliodorus and the ,liberation of ,peter1 there is a room1 the first of the series1 which is called the ,room of the ,great ,fire1 because it contains a large picture of the ,conflagration in the ,borgo4 ,the ,borgo is that quarter of ,rome where the ,vatican stands1 and in the ninth century there was1 one day1 a great fire there4 ,it was said that the fire was put out by the ,pope of that time1 ,leo ,,iv41 who stood in a portico connected with the church of ,st4 ,peter1 and made the sign of the cross4 ,raphael was bidden make a painting upon one wall of the room1 which should represent the scene1 and in his characteristic fashion he made it to be not merely a copy of what he might suppose the scene to have been2 he introduced a poetic element1 which at once made the piece a work of great imagination4 ,a poet1 who was describing such an event1 might use an illustration from some other great historic fire4 ,he might have said in effect3 ,in this burning of the ,borgo1 men could have been seen carrying the aged away on their shoulders1 as when in ancient times ,troy was burned1 and ,a,eneas bore his father ,anchises away from the falling timbers4 ,this is exactly what ,raphael did in painting4 ,in the background of the picture is seen ,pope ,leo ,,iv4 with his clergy1 in the portico of the old church of ,st4 ,peter's4 ,the ,pope's hand is raised1 making the sign of the cross2 on the steps of the church are the people who have fled to it for refuge4 ,on each side of the foreground are burning houses4 ,men are busy putting out the fire1 and women are bringing them water4 ,other men and women and children are escaping from the flames1 and some are heroically saving the weak and helpless4 ,it is amongst these last that ,raphael has placed the group called the ,flight of ,a,eneas4 ,the ,trojan bears on his shoulders his father1 the old1 blind ,anchises4 ,behind is ,creusa1 the wife of ,a,eneas1 looking back with terror upon the burning city1 and by the side of ,a,eneas is his young son ,iulus1 looking up into his face with a trusting gaze4 ,illustration3 ,,the ,,flight ,,of ,,aeneas ,vatican ,palace1 ,rome ,some one of ,raphael's friends had no doubt told him the story1 or read it to him out of ,virgil's ,a,eneid1 which was one of the favorite books in that day1 when men were delighting in the recovery of the great poetry of ,greece and ,rome4 ,here is a part of the story as told by ,virgil in the translation by ,c4 ,p4 ,cranch3-- ,but when ,i reached my old paternal home1 ,my father1 whom ,i wished to bear away ,to the high mountains1 and who first of all ,i sought1 refused to lengthen out his life1 ,and suffer exile1 now that ,troy was lost4 ',o ye1' he said1 'whose blood is full of life1 ,whose solid strength in youthful vigor stands1-- ,plan ye your flight6 ,but if the heavenly powers ,had destined me to live1 they would have kept ,for me these seats4 ,enough1 more than enough1 ,that one destruction ,i have seen1 and ,i ,survive the captured city4 ,go ye then1 ,bidding this frame farewell--thus1 lying thus ,extended on the earth6 ,i shall find death ,from some hand4' 99 99 99 99 99 ',o father1 dost thou think ,that ,i can go and leave thee here alone8 ,comes such bad counsel from my father's lips8 ,if't is the pleasure of the gods that naught ,from the whole city should be left1 and this ,is thy determined thought and wish1 to add ,to perishing ,troy thyself and all thy kin1-- ,the gate lies open for that death desired4' ,so saying1 ,a,eneas calls for his arms1 resolved to remain with ,father ,anchises fighting the ,greeks to the death4 ,thereupon ,creusa his wife begins to weep1 begging him not to leave her and her little boy ,iulus to perish in the flames4 ,in the midst of her lamentations a sacred omen is given1 in the appearance of lambent flames playing about the head of ,iulus4 ,anchises is convinced of the will of the gods4 ',now1 now1' he cries1 'for us no more delay6 ,i follow2 and wherever ye may lead1 ,gods of my country1 ,i will go6 ,guard ye ,my family1 my little grandson guard4 ,this augury is yours2 and yours the power ,that watches ,troy4 ,and now1 my son1 ,i yield1 ,nor will refuse to go along with thee4' ,and now through all the city we can hear ,the roaring flames1 which nearer roll their heat4 ',come then1 dear father6 ,on my shoulders ,i ,will bear thee1 nor will think the task severe4 ,whatever lot awaits us1 there shall be ,one danger and one safety for us both4 ,little ,iulus my companion be2 ,and at a distance let my wife observe ,our footsteps4' 99 99 99 99 99 ,this said1 a tawny lion's skin ,on my broad shoulders and my stooping neck ,i throw1 and take my burden4 ,at my side ,little ,iulus links his hand in mine1 ,following his father with unequal steps4 ,behind us steps my wife4 ,through paths obscure ,we wend2 and ,i1 who but a moment since ,dreaded no flying weapons of the ,greeks1 ,nor dense battalions of the adverse hosts1 ,now start in terror at each rustling breeze1 ,and every common sound1 held in suspense ,with equal fears for those attending me1 ,and for the burden that ,i bore along4 ,,xiv ,,st4 ,,michael ,,slaying ,,the ,,dragon ,there are many legends about ,st4 ,michael1 who is also represented as the ,archangel1 or head of the whole company of angels1 and most of these legends spring from a few passages in the ,bible1 chiefly two4 ,one of these is in the ,epistle of ,jude1 the ninth verse1 where the archangel ,michael is alluded to as contending with the ,devil4 ,the other is in the ,book of ,revelation1 beginning at the seventh verse of the ninth chapter3-- ,and there was war in heaven3 ,michael and his angels fought against the dragon2 and the dragon fought and his angels1 and prevailed not2 neither was their place found any more in heaven4 ,and the great dragon was cast out1 that old serpent called the ,devil1 and ,satan which deceiveth the whole world2 he was cast out into the earth1 and his angels were cast out with him4 ,the ,book of ,revelation is full of strange imagery2 and ever since it was written1 men learned and unlearned have tried to turn its impassioned verses into real historical scenes1 past or to come4 ,above all1 this figure of a dragon1 a monster part man1 part brute1 puzzled people1 and they have all sorts of explanations to make of it4 ,in our fairy tales we often hear of hobgoblins and dragons and like fearful beings1 and we think of them as make-believe creatures1 and sometimes are afraid of them1 even though if we are questioned we say we know they do not really exist4 ,but in ,raphael's day1 dragons were by no means unreal things to people4 ,some thought they had seen them1 and there were a great many persons who if they had not seen them themselves were sure others had seen them4 ,in ,raphael's day there were large tracts of the world1 dark woods1 inaccessible mountains1 which had hardly been explored at all1 and people fancied them haunted by strange men and stranger animals4 ,as more and more light is let into the world1 these dark places disappear1 and we have come to know just what kinds of animals and men there are everywhere4 ,yet still1 we are not quite sure there may not be singular beasts lurking out of sight1 like the sea serpent for example4 ,now1 the dragon in early days stood for what was ugly and terrible and a hater of good4 ,the ,greeks believed there were dragons1 and they had many tales of how ,hercules or this or that hero slew a dragon4 ,to the ,christian of the ,middle ,ages the dragon stood at one end of the scale1 an archangel at the other2 for as the dragon was all darkness and hideousness1 the archangel was all light and beauty and gloriousness4 ,it thrilled every one to think of the angel of light fighting with and overcoming the beast of darkness2 for every one knew that sort of struggle was going on in the world1 even in himself4 ,illustration3 ,,st4 ,,michael ,,slaying ,,the ,,dragon ,the ,louvre1 ,paris ,raphael's picture gives a fine contrast between the beautiful1 strong1 young archangel and his ugly foe4 ,st4 ,michael hovers in mid air as light and graceful as a bird1 while ,satan squirms beneath his feet1 a loathsome creature scorched by the flames and sulphurous fumes1 which pour from the clefts of the rock4 ,in the artist's imagination both are spirits1 and so both are winged2 for wings1 which carry one through the air1 naturally are symbols of spiritual existence4 ,but the wings of the archangel are the wings of some great1 glorious bird like the eagle1 which soars upward toward the sun2 the wings of the dragon are more like the wings of a bat1 which flies only in darkness and clings to the roofs of caves4 ,after all1 the first and last impression which we get from the picture is the lightning-like movement of the archangel4 ,he darts at the dragon as if he had come from heaven with the swiftness of light1 his robe flying like the wind away from him1 his wings not spread in flight1 but lifted in his poise1 and his face bearing the serenity of an assured victory as he lifts his spear for its final thrust4 ,the great ,english poet ,milton has made use of this same subject in ,paradise ,lost4 ,here is a portion of the story in the sixth book1 lines #caf-ccj3-- ,together both1 with next to almighty arm ,uplifted imminent1 one stroke they aimed ,that might determine1 and not need repeat ,as not of power1 at once2 nor odds appeared ,in might or swift prevention4 ,but the sword of ,michael from the armory of ,god ,was given him1 tempered so that neither keen ,nor solid might resist that edge3 it met ,the sword of ,satan1 with steep force to smite ,descending1 and in half cut sheer2 nor stayed ,but with swift wheel reverse1 deep entering1 shared ,all his right side4 ,then ,satan first knew pain1 ,and writhed him to and fro convolved2 so sore ,the griding sword with discontinuous wound ,passed through him4 ,,xv ,,the ,,sistine ,,madonna ,as we turn to the picture1 famous the world over as the ,sistine ,madonna1 we seem to be looking through a window opening into heaven4 ,faint in the background1 yet filling the whole space1 is a cloud of innumerable cherubs2 out of this cloud1 and enveloped by it1 appear the ,mother and ,child4 ,they are taking their way seemingly from heaven to earth4 ,a curtain has been drawn aside that we may see them1 and two figures are on either side1 as if to await their passing1 one gazing into their faces while he points outward1 the other also kneeling in devotion yet looking intently down4 ,the mother's robes are blown back by the wind as she moves steadily forward4 ,underneath is a parapet1 as if this were indeed a window1 and two beautiful boy-angels lean upon it1 adoration on their faces and rest in their position1 as if they were everlastingly praising1 and were the very embodiments of cheerful innocence4 ,it is worth while to look at this picture for a moment1 without thinking of its meaning1 and indeed without paying much attention to the beauty of the figures1 just to see how this great painter has managed the lines and masses of the work4 ,in art1 lines and masses and color are not unlike what words and sentences and what we call style are in literature4 ,even if a writer has good and beautiful ideas1 much of the pleasure we might derive is lost when the words are ill chosen1 the sentences are bungling1 perhaps even ungrammatical1 and the whole expression is commonplace or confusing4 ,we cannot get any notion of ,raphael's color from our little print1 but it is not difficult to trace the lines and to see something of the effect of the masses1 and of light and shade4 ,the shape of the whole is a combination of pyramids4 ,when you see the great base of a pyramid and observe how the sides taper upward1 you are aware that nothing could stand more securely and at the same time suggest lightness1 by the rising and receding of the sides4 ,now here you see that lines drawn from the shoulders of the two attendant figures would meet at the ,virgin's head1 as at the apex of a pyramid4 ,the curtains even help this effect1 by being drawn aside in such a way as to make these lines more evident4 ,in the lower half of the picture the lines in the draperies of the kneeling saints taper to an imaginary point between the heads of the cherubs1 forming a second inverted pyramid or triangle4 ,thus the composition is inclosed in a harmonious figure whose outlines suggest what we call a diamond4 ,illustration3 ,,sistine ,,madonna ,dresden ,gallery ,perhaps one reason why a triangular arrangement satisfies the eye1 lies in the simple fact that the most important and yet familiar object in nature is thus arranged4 ,thus in this picture1 the three principal persons form the upper triangle1 and the body of each person repeats the figure1--that is1 the head rises from the shoulders in such a way that the lines inclosing them produce a triangle4 ,further1 in each face1 the line formed by the eyes is connected by two imaginary lines meeting at the mouth4 ,in the picture the central figure illustrates this very noticeably4 ,the arm of the ,virgin forms by its position1 along with the body of the child1 a base1 from which two other lines rise1 tapering to the top of the head2 the child's head lies right in the course of one of these lines4 ,thus mother and child together form a single figure1 the two united in one4 ,but when we have studied this simple principle of composition1 we go back with delight to the picture itself for what it tells us3 the deep mystery of the mother's face1 as if she were lifted above the ordinary plane of human life2 the blended loveliness of childhood with the consciousness of a holy calling2 the lowly devotion yet dignity of ,st4 ,barbara2 the grandeur and forgetfulness of self of the ,pope1 whose triple crown rests on the parapet2 the perpetual childhood of the angelic figures4 ,the picture takes its name from the ,pope1 who had been canonized as ,st4 ,sixtus4 ,it was painted for the convent of ,st4 ,sixtus at ,piacenza1 but early in the eighteenth century it was bought by the ,elector of ,saxony1 and now hangs in the gallery at ,dresden4 ,it is a pleasant thing to know that when ,frederick the ,great bombarded ,dresden1 he ordered his cannon to keep clear of the ,picture ,gallery4 ,napoleon1 too1 though he took many pictures to ,paris1 did not take any from the ,dresden gallery4 ,when we compare the ,sistine ,madonna with the ,madonna of the ,chair1 we see what a wide variety of pictures there may be on the single subject of the ,mother and ,child4 ,the ,madonna of the ,chair is1 as we have said1 a home scene1 like a picture from real life4 ,the ,sistine ,madonna is a vision2 the figures are lifted above the actual surroundings of earth into a purely ideal and heavenly atmosphere4 ,in the ,madonna of the ,chair1 the ,mother and ,child are all in all to each other1 and what attracts us most in the picture is the mother's love4 ,in the other picture both mother and boy seem to forget themselves in the thought of some glorious service to others4 ,,xvi ,,portrait ,,of ,,raphael ,we have been looking at fifteen pictures designed by ,raphael4 ,they are but a few of the great number painted either wholly or in part by the master1 or painted by his pupils from designs and sketches made by him4 ,he was thirty-seven years old when he died1 and it was said that he died on his birthday4 ,his life was brimful of activity as a painter4 ,the portrait which stands at the beginning of this little book was painted by himself at the age of twenty-three1 for his mother's brother1 whom he was wont to call his second father4 ,an ,english poet1 ,samuel ,rogers1 in his poem ,italy1 has these lines which describe it prettily3-- ,his heavenly face a mirror of his mind1 ,his mind a temple for all lovely things ,to flock to and inhabit4 ,one of his contemporaries1 ,vasari1 wrote a book of ,lives of the ,painters1 and thus he speaks of ,raphael3 ,all confessed the influence of his sweet and gracious nature1 which was so replete with excellence1 and so perfect in all the charities1 that not only was he honored by men1 but even by the very animals1 who would constantly follow his steps1 and always loved him4 ,if we think of what was happening to ,raphael in the year #aejf1 when he painted this portrait1 perhaps we shall read more truthfully the expression in his face4 ,seven years before he had entered the studio of ,perugino1 and had begun to learn from that master and to show something of his own power4 ,two years before he had made his first visit to ,florence1 and there he saw some of the great pictures by ,leonardo da ,vinci and ,michael ,angelo1 and had a new conception of what art could do4 ,he had already shown the effect upon him in some of his greatest ,madonnas1 and he stood now on the threshold of a great career4 ,new ambitions awoke within him2 new ideals flashed upon his inner vision4 ,modest and gentle though he was1 he felt a growing consciousness of his own power4 ,so he holds his head high2 not haughtily1 but with a dignified self-confidence4 ,his eyes seem to see the visions of which he dreams2 his mouth is half parted as if in expectancy4 ,happy and lovable1 there is a sweet thoughtfulness in his air which gives promise of his wonderful performance4 99 99 99 99 99 ,,pronouncing ,,vocabulary ,,of ,,proper ,,names ,,and ,,foreign ,,words4 ,the ,diacritical ,marks given are those found in the latest edition of ,webster's ,international ,dictionary4 ,,explanation ,,of ,,diacritical ,,marks4 ,a ,dash 77 above the vowel denotes the long sound1 as in fate1 eve1 time1 note1 use4 ,a ,curve 777 above the vowel denotes the short sound1 as in 7ad 7end1 7ill1 7odd1 7up4 ,a ,dot 747 above the vowel a denotes the obscure sound of a in p4ast1 4abate1 ,am7eric4a4 ,a ,double ,dot 737 above the vowel a denotes the broad sound of a in faether1 aelms4 ,a ,double ,dot 737 below the vowel a denotes the sound of a in ba3ll4 ,a ,wave 77 above the vowel e denotes the sound of e in her4 ,a ,circumflex ,accent 77 above the vowel o denotes the sound of o in born4 e sounds like e in d4ep7end4 o sounds like o in pr4opose4 c sounds like s4 -c sounds like k4 s sounds like ,z4 g is hard as in get4 4g is soft as in 4gem4 ,aeneas 7e nee' 4as74 ,alcibiades 77,alc7ibi' 4adez74 ,anchises 77an ki' seez74 ,apocrypha 74a p7ok' r7i f4a74 ,apollo 74,ap7ol' lo74 ,arras 7,aerraes'74 ,augustine 7a3' g7us teen74 ,barnabas 7,baer' n4ab4as74 ,borgo 7,bor' go74 ,calliope 7-,c7alli' op4e74 ,costis 7-,c7os' t7is74 ,creusa 7-,creu' s4a74 ,dante 7,d7an' t4e74 ,elias 74,eli' 4as74 ,elijah 74,eli' jah74 ,galilee 7,g7al' 7ilee74 ,gennesaret 7,g7enn7es' 4ar7et74 ,gentiles 7,g7en' tiles74 ,heliodorus 7,hel7iodo' r7us74 ,hercules 7,her' -cules74 ,herod 7,h7er' 7od74 ,hippocrene 7,h7ippo-cre' n4e74 ,iulus 7,iu' l7us74 ,josephus 7jo see' f7us74 ,leonardo da ,vinci 7la o naer' do dae v7in' chee74 ,loggia 7l7od' j4a74 ,louvre 7loo' vr74 ,lycaonia 7lik 4a o' n7i 4a74 ,lystra 7,l7ys' tr4a74 ,maccabees 7m7ak' 4a beez74 ,madame 7,m7adaeme'74 ,magdalene 7,m7ag' d4al7en74 ,mamre 7,m7am' re74 ,maximin 7,m7ax' 7im7in74 ,melchisedec 7m7el k7iz' 4e d7ek74 ,mercurius 7,mer-cu' r7i7us74 ,minerva 7,m7iner' v4a74 ,onias 7,oni' 4as74 ,parnassus 7,paern7as' s7us74 ,pericles 7,p7er' 7i-cles74 ,perugino 7pa roo jee' no74 ,piacenza 7pe ae ch7en' dzae74 ,pindar 7,p7in' daer74 ,plato 7,pla' to74 ,plautus 7pla3' t7us74 ,polymnia 7,p4ol7ym' n7i4a74 ,raphael 7rae' fa 7el74 ,sabinella 7,s7ab7in7el' l4a74 ,sappho 7s7af' fo74 ,sheba 7,she' b4a74 ,signora 7,seen yo' r4a74 ,sinai 7,sin' i74 ,sistine 7,s7is' teen74 ,socrates 7,s7o-c' r4ates74 ,sodom 7,s7od' 7om74 ,stanza d',eliodoro 7staen' dzae da l4e 4o do' ro74 ,urban 7,ur' b4an74 ,urbino 7oor bee' no74 ,vasari 7vae sae' ree74 ,vatican 7,v7at' 7i-c7an74 ,xenophon 7z7en' 4o f7on74 ,zebedee 7,z7eb' 7edee74 99 99 99 99 99