Painting

Another of the Bible scenes which Raphael painted was one which is told in the New Testament concerning the Lord Jesus and his Apostles. Some of these, as Peter and Andrew, James and John, were fishermen who lived near the lake of Gennesaret in Galilee, and had spent most of their lives in their boats. They had been much with their Master, and sometimes left their boats to go with him through the country, when he talked with them and healed the sick, and told the glad tidings, for that is what the word Gospel means.

Portrait frontispiece. Painted on wood, 1506, as a gift from the painter to his uncle, Simone Ciarla, of Urbino. In 1588 the portrait passed from Urbino to the Academy of St. Luke, Rome. Later it was sold to Cardinal Leopoldo de' Medici for the Hall of Portraits of the Old Masters in the Uffizi Gallery, Florence.

The Sacrifice at Lystra was another of the great tapestries, and was in the second series of five which had to do with the life of St. Paul as recorded in the Acts of the Apostles. The apostle was on a journey with his companion Barnabas, and they were teaching and healing as they went. At Lystra they had performed a wonderful cure in healing a man who had been a cripple from his birth.

In connection with St. Catherine:—

Latin Hymn, Vox Sonora Nostri Chori, St. Catherine's Day. Translated by David Morgan.

Mrs. Jameson. Sacred and Legendary Art.

S. Baring-Gould. Lives of the Saints. Volume for November.

In connection with St. Cecilia:—

S. Baring-Gould. Lives of the Saints. Volume for November.

Mrs. Jameson. Sacred and Legendary Art.

Chaucer. Second Nonnes Tale.

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'Eliodoro, or the Heliodorus Room. The name is taken from the first of the paintings which cover the walls of the room.

The story which Raphael told in this picture is taken from an incident in the history of Jerusalem, which is related in one of the books of the Apocrypha and in Josephus's History.

1483. Raphael born at Urbino.

1499. Raphael enters Perugino's studio at Perugia.

1504. "The Marriage of the Virgin."

1504. Raphael's first visit to Florence.

1505. Raphael in Perugia:—

The Madonna of St. Anthony.

The fresco of San Severo.

1506. Visit at Urbino:—

Raphael's portrait by himself.

1504-1508. The Florentine Period:—

Granduca Madonna.

Tempi Madonna.

Madonna in the Meadow.

The art of Correggio was very justly summed up by his first biographer, Vasari.

The first biographer of Correggio was Vasari, in whose "Lives of the Painters, Sculptors, and Architects" is included a brief account of this painter. The student should read this work in the last edition annotated by E. H. and E. W. Blashfield and A. A. Hopkins. Passing over the studies of the intervening critics, Julius Meyer's biography may be mentioned next, as an authoritative work, practically alone in the field for some twenty-five years. This was translated from the German by M. C. Heaton, and published in London in 1876.

Portrait frontispiece. From a photograph of an alleged portrait of Correggio in the Parma Gallery.

1. The Holy Night.(La Notte.) (Detail.) Painted at the order of Alberto Pratoneri for the altar of his chapel in the church of S. Prospero, Reggio. Agreement signed October 10, 1522. Stolen from the church May, 1640, and taken to Modena. Now in the Dresden Gallery. Size of whole picture: 8 ft. 5 in. by 6 ft. 2 in.

In the time of Correggio the convent of S. Paolo (St. Paul) in Parma was in charge of the abbess Giovanna da Piacenza, who had succeeded an aunt in this office in 1507. She was a woman of liberal opinions, who did not let the duties of her position entirely absorb her. She still retained some social connections and was a patroness of art and culture. The daughter of a nobleman, she was a person of consequence, whose private apartments were such as a princess might have. Already a well known painter of the day had decorated one of her rooms when she heard of the rising artist Correggio.