New-York tribune., 1875-02-13
THE YALE ART LECTURES.
RAPHAEL'S TEACHERS.
TIE MASTERS OF THE UMBRIAN sCHooI-PERUGINo
FRANCISCO FRANCIA-GHILANDAJO.


FRANCISCO FRANCIA-GH1LANDAJO.
NEW HAVEN Feb. 10.-PrOf. d. Cady
EatOns fifth lecture consideration of the influence
which nodded RaphaePs style. He began as follows:
To-day the highway from Florence to Rome passes
through Assist and Perua, and at no great distance
from Urbino. But in the fifteenth century, the Dnchy
of Urbino had little connection with the outside world,
and hidden away among the spurs Of the Apennines,
enjoyed happy repOse from the struggles OF POpes and
EmDerors preserving the simplicity of religious faith
taught by St. Francis long after other portions OF Italy
had become secularized and paganized. Umbra was
the largest province OF this retired and religious dis
trict and from this province the title Of "Um-
bran" ." which was bestowed school of art which
reflected the characteristics of the people The first dis
tngushed artist OF this sect Pietro VAnucci
or he commonly called, Perugino, especially noted
as master OF Raphael At the age OF thirty he re-
moved TO Florence, but after residence there ana at
Rome of about fifteen years. returned to his native
place and strictly Umbrian methods OF his youth
Perugno have had faulty personal character
being skeptca and sOrdId and ii this be are met
extraordinary fact of the existence OF an ARTIST OF
the greatest ability living at time, TOO, when art was
most true subOrnating his talents 10 sordid ends yet
producing works gave full satisfaction to the purest
ana tenderest religious sentiments OF the daV The es
tlmation IN winch he held by contemporaries is
shown by his call to assist in the decoration or
The Sistne Chapel Vatican, all the other artists
being Florentines, while TO him intrusted the
frescoes high altar and other important positions
about the walls. His figures show calm sweetness an
innocent and gentle happiness. the UmDlan Pc
cuharines. such the placing Of the feet ut right
angles and the falling the drapery from the waist
instead shoulder, noticeable in all ms early
and later But, though Strengthened by the con
ventiOnalities OF his school, he exhibits great power
originality and Judgment Bis influence on RaphaePs
style was illustrated by series of compositions. such as
the sleepng of the Apostles in the Garden in which
PeruCino was evidently the master and Raphael the
pupil In the Marriage OF Mary and Joseph. however,
we see that Raphael has outgrown his instructor
Another artist whose works not without infu
ence on the young painter Francesca Francia His
manner is akin that Of Perugino, with less sentmen
tality, however, and more honest aud pleasing The
proper place to study Franca s at Bologna where most
OF his works executed. DE Introduced tle por-
traits of his patrons into bs compositions custom tNen
popular IN the Netherlands but which did not meet
with much favor the Italians HIS works lead
onr through their sympathy with German art To the
study mutual relation and dependence OF Htrah
and Italian painting. Francia's Madonnas are Iepfu
ton of one human figure. that of woman ne loved ana
in all his work that dencatI4n OF hnmSh na1l
nitv which constitute the charm "f haphae Mlnonu
HIS celebrated EBtOmbment, or Peta, III ne NtOhal
In hrs smaller compositions Virgin and Chld be Is
not feictOus, lacking variety ana tfue Idedi.y, he
10 have appreciated the necesslty o., S
human model! without the power OF execution; MS M
dOnnas PrOpound the Fiddle which IApn@eFs M@doAA"S
Raphael was born at Urbino the 5th OF April, 1883
MANY charming stories are told OF the precoclV OF MS
/
He entered studio OF Perugno at the early age OF
10 and remained with him TIL he was 20 Inc sudles
executed by him during tins long pupIdGe sho" tIe
tAorougnness OF Peruglno's instruction ana DIS own
| application. Ills early productions such as lAe VIC
tories ST. Michael ana et George SNOW many pueIi
ues and imperiectlOns but great oflEllatf anu prom
ise RaDhaei's growth orderly ana not 700 rdpll
He met conquered the obstacles hat usually pre-
sent themselves artistic study, and II was ONLY after
nerssteDt labor that executed with ease ana freedom
The conce ptiOns his beautiful soul hdpnaeFs rst
visit 10 Florence marks epOch In Ills me- IL s
nor 10 be wondered that ms brush was compare,
|
! rejecting. For then Leonardo de Nhcl anu
Michael Angelo were cOntehdlng Ior Cue % Inastei5.
GMlaudaO's were still lrtsh from UHe painter
nallet Botticelli, Filipino, Lippl aud Luca were IN
the prime their artistic fame Benozz9 Gozzoi uau
comneted his frescOs Pisa. Fra BartolopeO ana MS
d sIhertInelh were perpetuating III art the prlncl
nles with SavonarOla had inSpheu thei anu an
drea del sartO was already employed III the Churcn
scalzi OF Leonardo and Mlchael Angelo We Ul sprnh
bereaffer OF the others, word at present BOtcell
i,va Francia seems 10 have selected single human
nre for al his Madonnas. His IDEAL however Is PAIN
fully ugy. He exhibits Win Inucn tuat u aIi0i' VI
| ahsrrd many eXcellenceS. In his treatment OF tne
dranery OF moving figures ls shown grtSI prOeress'
thonrh the full rendition of this feature OF ART was re-
Rut the works OF a greater artist than BOtice were
evrtr,ng the admiration OF Florence In LAYS Dome c
GnandsjO confesse0Iy Inc nht t SI 81 5rreU
IN the rune OF ife His frescO OF The Ca Vi AAulIH
and Peter but superior III Rome, anu even
school Athens shows evidence Oh hiphtts S',i
ness 10 the greatest OF his predecessors FROM Gnla
dao Raphael learned the management OF arse coluPo-
siOns the proper management OF masses anu tne art
~ making them subserve central idea In hs gem
aI nnmenclature one more artist deserves notice,
uca Sgnorelli born Perugia, and early uaneu III
! the UInbrian school He preceded kap1aei 10 fior-
20 10 execute commissions for the Medlci lalHy,
stndying the human figure the whlie win aDsoIDins
assduity; its bones, joints lartculatOns ana nusces
Ijis outlines hard, and his hgures seem III W.
from the same model, put each atuUuue II al ~.
snaomical study. such The inspirations such the
| school III winch the young genius Oi hapn"el wac ~
| tureG.