New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1875-03-02
The YALE ART LEO1 URES.
LATER YEARS OF RAPHAEL.

LATER YEARS OF RAPHAEL.
THE CARTOONS AND MADoNNAs-THE BEARING OF
THE CROSS AND THE TRANsFIGURATIoN-RA-
PHAEEs DEATI-DECLINE OF HIS SCHOOL
fFRoM A SPECIAL CORRESPONDENT OF TIE TRIBUNE.I
NEw-HAyEN, Feb. 24-Prof. EatOn's seventh
lecture had 70 do with tho later works OF Raphael his
DEATH and the decay of his school OF painting as seen
by the works OF his pupils The Professor nrst consul
cred Raphaes cartoons which place him at the summit
OF Christian dramatic art. The ones depicting the cali
ing OF Peter, and the charge to Feed my Lambs were
projected on the SCREEN and criticised specimens OF
this series. The chef excellence OF these drawings
said Professor, lies the simplicity OF the grouping
There OF the application OF mathematician
rules. The figures arranged neither pyramdlcaiv
nor 10 circles. Form and sdrapery are fully mastered
in attitude expression, and composition they are excel
lent The same further illustrated by the
cartoons representing Paul preaching at Athens anu
the story of Ananias the last named being the most
dramatic OF the series.
Turning from the cartoons the Professor considered
the frescoes in the Raphael loggia OF the Court OF ST.
Damaso These number 81: they were executed Dy the
great artist and his pupils. These paintings nave SUI
fered much from time but IL Is easy TO sec that In &c
sign and execution they inferior. In this SERIES
Raphael evidently attempted to work IN the style Oh
Michael Angelo but the attempt was failure. Inc
series is an instructive sermon on the danger or even
great masters leaving his own style to Initiate that OF
N
those works OF his years which he followed the
dictates OF his artistic instincts.
In the Polyphemus aud Galatea we see combined the
peculiar beauties OF the antique ana thc henaSsace'
All the loneliness OF Greek art is present. while there Is
nothing that drawn down from the couus 10 ter
rfy and awe, the Jupiter Trico or to repe' OV
divinity OF beauty "a in the Venus Of Milo. Raphael
painted few NEUROLOGICAL pictures though If one judges
from the Galatea capable OF supreme excellence
In this field as well as in that Of Christian art
The two great MadOnnas Of Raphael are the Madonna
della sadia and the Madonna d Sau Sso, the former In
the Pitt Palace at Florence, and the other the cnei
ornament and treasure OF the Dresden Gallery. The
Madonna della Sedia according to critical standards, Is
not SO perfect as by the painter which nave
failed TO obtain universal ppularity BY as r1iTv
mo- hing could be beautifully expressed We see
only a happy mother bending over the l0Veiy chlla 10
the intensity OF her affection and content WINE Tue pane
looks forth from the picture WIN stIdDgc saeI h
conscious superiority. The picture Is purely yrcu tue
only action being in the casped hands or the itte 81
Jo6n whom neither child nor mother considers The
Madonna al FOigno Is another OF RaphaePs master
pieces especially conspicuous for the exquisite grace
dccacy and refinement IN the race inquire ana attitude
the Virgin aud for the lovely little anger III me center
OF the picture bearing tablet But we must hasten %
the as and in the estimation of many, the most won
OF all his cOmpositiOns-the Dresden Madonna oil
San SstO This is picture which cannot he described
aud OF which copies, photographs or engraVingS can
convey a correct Idea. In this Madonna. Raphael
dvnity The grace and beauty Of the vr-iu apart
from and earthly associations III the solemn
there Is wing Of the sufferer, the SAVIOR
ana the Judge 1t Is singular that not untll ls2 when
the picture cleaned, the llnumsraDlt neaIs OF
angels surrounding The Virgin discovered.
Two more works must close this enumeratlon-the
spasiIno or Christ Bearing His Cross, at Madri and
the TRANSPORTATION, in the Vatlcau-pctures when
bear earliest OF MS Efforts IN dramatic painting
the same relation that his latest MadOnnas bear to those
OF his earliest FlOrentlne period. That Riphael should
have carried through his life Two sncn distLct Syle
and brought perfection, is indeed marvellous
The German Raphael (Alengs) esteems the Spasm0 as
abs Olutey the all OF RaphaePs WORKS regard
ing 1t model of arrangement, III which the subject
explains IL elf with the greatest cearness where not
suge figure Is superhuOus single essential lacking
aud every atCi,ude and every expression con-
the general eject OShers deSe tnat tneFe Is
something theatrical In tue picture, discovering EVIL
dences of study III the arrangement whle many VI the
figures seem posing. Tie TRANSPORTATION IS perhaps the
superior OF the paintings though THIS mas also been
criticised for the Introduction OF TWO distinct actOns
the the Mount ITSELF and the visit OF Inc family
bringing youth possessed Of devil to the apostles
The picture Raphael painted OF the RedeeIlef is
marvellous Transformation; his last picture or the
Madonna was the less marvellous Madonna di San
each there Ia more or Heaven tnan edrth, as II
the artist were fully ready for tue translation that now
awaited him He died Good Friday, Aprll o, l52D Oh
MA thrty,eyentu blr thday His untlDely death
"A gloom over Rome Tne Pope himself Is said to nave
fallen his knees and exclaimed, ora pro ho6tS" as
If addressing prayer 10 Oeatfled SAINT His remains
Law IN state with unfinished Of the Transtig
suspended above the bier while the Roman pop
uace and the whole art world mourned Their rrepara
Bile loss Well might they grieve, for after the death OF
the the school ne founded RAPIDLY declined TIL IL
sunk 10 the grotesaue ana wellBigh buresque Let
draw the TINS sad decay and turn to other
claim attention; above all,
to that lofty aud solitary figure which Is and felt
through all this period the immortal and unapprO2eha
bic genius OF Michael Angelo.