The Austin weekly statesman. (Austin, Tex.) 1883-1898, 1883-05-03
RAPHAEL'S MARCH TO FAME.
His Best Works to be Seen in Rome
His EDitaph,

Rome Letter to the Paris American Register. ]
Raphael's name, "Sanzio," is deri-
walton from the Latin "Sanctius," we
are told. But Raphael never used his
family name when signing any of his
pictures or letters. l send you fac
smile of his handwriting, which /
have cut from the POpalO Romano
RaphaelS father was also something
of painter and a poet. Raphael's
master was Perugino. He remained
in this studio till 1904. 1t is said
that about this time Raphael PLAYED
trick on Perugino, which at once re-
vealed his superior genius. Perugino
was man of orderly habits, and to
tease him Raphael one day painted
some fish on the stairs that led to the
studio,as if they were dropped there
by chance. When Perugino saw this
he called out to the cook, asking in
angry tones why she did not come to
pick up the fish she had let drop. and
he stopped to pick them up himself.
When he discovered that they were
painted, his cheeks flushed with sur
prise. who has done this ?" he
asked. When he was told it was his
pupil, Raphael, he said, taking off his
cap, at is he who is master now. 1
have nothing more to teach him; he
can teach mel" Raphael painted
about twenty pictures whilst with
Perugino, but he was not Raphael till
he he had worked some time by him
self. At first, however, he attracted
but little attention. He was so girl
ish in appearance that he was called,
almost in jest, "Graziosissimo." For
time he seemed crushed by Leonar-
do, Michael Angelo and other giants of
the pencil who lowered above him.
But genius asserted itself in
the end, and the little Urbinite, in
his turn became a giant, and eclipsed
in glory all his contemporaries.
From 1904 to 1908 Raphael remained
in Florence. In 1903 he went to
Rome. He was then twenty-five
years of age. Julius II. was Pope,
and from him he had the commission
to decorate the Segnatura Hall. Ra-
phael composed the design entirely
out of his own imagination. and this
was presented to the Pope by Bra
mantle. Julius II. no sooner cast his
eyes on this design than he discovered
RaphaePs genius in it. The subject
was categorical, and Raphael intro
duced rel 5iOn, scit nee, arts and law
in his design, which was to cover
the walls of the immense hall,
which has yet no rival for sublimity
of the painters art. lie finished
this work in less than three years,
and for nine more years he worked in
Rome, filling it with works that have
been the wonder of the world. Death
70 OF Of &c
greatest work. and his worshipers say
that even this early death contributed
to his immortal fame, for it overlook
him in the zenith OF his artistic power
and glory, when he could not go fur
ther in perfection Of conception or
execution. He had reached the sum-
nit of his greatness, they say.
When he was buried the 'TranSig-
uration" was placed on his coffin, and
thus he was carried to his grave, COW
cred by his own glory. Over his tomb
was written the following epitaph.
which he himself dictated: "Hic lille
est Raphael, timult quo sospite vincit.
Herum magma parens ct moriente
mort"
His tomb was reopened in 1889, and
his remains placed in al urn.
1t is in Rome where the best works
of Raphael are to be seen. Besides
his galleries at the Vatican there is
the "Christ at the Sepulchre" in the
Borghese gallery, the Portrait of the
Fornarina" at the Barberin palace,
the 'Violinist" at the Sciarra palace,
and the famous "G;lathea,' and
psyche" in the Farnesina palace.
His "Oppollo Marosyas" is in Mr..
Merits Moore's gallery. As already
stated, Mr.. Moore has also a portrait
of Dante. by Raphael, painted for
Cardinal Bembo; and thus plain
English gentleman is as rich in art
measures as the richest Roman prince.