New-York tribune., 1875-02-25
THE YALE Art LECTCRRS.

pAPUAFI,s VATICAN FRl;sCoES-DEYELoPitENT or
HIS IDEAL OF THE MADONNA.
(rRox A SPECIAL CORRESPONDENT OF TIE TRIBUNE.J
NEw-HAyEN, Feb. 17.-Prof. Eaton's lecture
this evening continuation Of the subject TO which
the one on last Wednesday evening was devoted;
consideration Of the schools and masters from which
Raphael drew his inspiration and power The artist
was also shown in his maturity having changed nom
the pupil Into the master.
An artist Of the period under consideration, said the
professor, whose influence on Raphael was direct ana
powerful was Fra Bartoomeo RaphaePs relations to
this painter intimate Ii Is supposed that
was owing 10 Rlphscls solicitation that the monk re-
sumed the practice Of his profession which he had for
many years discarded as sinful To Fra Bartolomeo
more than to any other artist was Raphael indeDIed
for his earliest conception Of the Madonna We can
trace also the influence in this same direction OF Aber
nel the pupil and friend OF Bartolomeo, than whose
salutation" VIC can find nothing in art more simple
and noble in cement, earnest in expression
OF excellent in drawing. Another cot'mporary artist
whose influence Raphael must have been great was
Andrea del Saro. His careers an instance OF the ex-
traordnary richness Of the times In great men, without
patronage influence, the advantages OF early train
mg neither Coming in contact with nor receiving direct
influence any OF the great artists, he developed
into one OF the foremost painters Of history For har
monious grouping, the proper distribution OF hgures
the representation of motion his work is remarkable
His peculiar excellences are best shown, perhaps, In
the marvellous Madonna de- Sacco Of which Vasar says
THAT for drawing, grace and beauty, for yeness aud
relief no artist had done the like" The grouping
is scientific the attitudes are noble ana the drapery
admirably ordered.
developed mis- ideal of the Madonna. Heretofore the
Madonna had been conventional creation, represented
euhroDed the child giving his blessing wltn surround
ing OF saints angels ana eceIesiasties Later artists
had bits OF nature u the attitudes and expires
sons OF the various personages but the original type
of the Byzantine Virgin was never wholly forgotten
kaUhaSls
point He starts from the purest and simplest express
sons OF maternal love and joy and by beautying and
idcaizng, while conserving these, be leads the mind 10
the contemplation and the comprehension OF the divine
Take OF the earliest Madonnas OF the fIorentine
PERIOD now in tine pos OF Earl Cowper happy
and contened mother holds lovely child and they gaze
mildly at something that as pleased then lhere Is no
attempt at representing but maternal tender
aud childish Toe faint halo about the heas
is the only indication that the artist was not engaged In
in pOrraure. series OF photographs were mere pro-
ecIed the by the lecturer TO show the many
varieties OF RaphaePs earlier paintings oi the MadohhS
Deferring consideration of his later Madonnas to
the next lecture, let follow the artist In an
entirely different development. The rivalry between
Michael Angelo and Leonardo da Vinci for the superior
iy in the Of action gave new and pow
erful Impulse to art. Raphael, among others, keeny
sensitive and alive to every new W. % aoSoea @ S
mastering OF strictly dramatic art He soon had
nont. In 1908 he was called to Rome by julius H. to
assist 10 the decoration OF the Vatican and under this
pouf and his successor Leo X produced those WORKS
which more any others proclaim his unapproacha-
BILE excellence We have already seen that the greatest
Italian artists employed in this work. The Slxtine
Chapel frescoes by Perudno and other cele
brated painters the 18th century, and here too
| Michael Angelo engaged In hs Immortal produc-
tons. The rooms assigned TO Raphael were four Ia
number ON the upper floor OF the palace proper. With
the very first painted or these reseoes, the Dispute OF
the Sacrament, enter on new ana highcr plane oi
artistic excellence. The composition Ia so grand 50
tlncomparaby superior 10 nything we nave seen
I thus far Of Riphaevs that IL Ia impossDie To
compare 1t or reconcile 10 with any Of his pre-
yious works. II seems at bound he had freed
himself from the past and had clothed himself with new
and original powers Dependence on previous schools
and masters Is gone; there remains no more or them
than traces of scEOOllays In the accomplished states
man. Que can easily understand the Dprcshi0n pro-
duced when the colOrs fresh ana and freely
sympathze with the determination OF the Pope to alot
all possibespace 10 the young artist Aud II adnra-
ion extravagant, what must IL have been when
"Tne School Of Athens" painted IN tho same room
aud facing the former Work No illustrations or ex
plantations convey u true idea OF this, by far the
greatest Of Raphaes creations No work In the entire
history OF nus OF greater Importance for pur
posos OF instruction Tue ceiling OF tue sixtine Chapel
inspires wonder aud oppresses the understanding
ana repes familiarity but RaphaePs art, Ike himself
OF Kindly and attractive nature it invites study
| and holds out q promise oT profit aud pleasure. IL,
teachings are calm, persuasive convincing The school
OF Ahens has FOR ages, preventing extrAvaganee
ana ration continual appeal Tor the preserve
tion Of calm, NOBLE selfcUntaned dignity In ART With
detailed criticism OF tins masterpiece and the exubi-
ton and exposition OF several other VI RipbaeFe Tres
| cJes 10 tho uoau the lootuTer concluded.