The times dispatch. [volume] (Richmond, Va.) 1903-1914, 1904-09-18
FAMOUS WORKS OF ART:
HE genius Of Raphael seemed
to comprehend everything
in art. His versatility was

l&ssN astonishing, and the appar-#
ent ease with which nc did master
pieces made him the subject OF much!
criticism from men who were great In
themselves, but who had to work
and perspire TO accomplish what
Raphael seemed to achieve without
rutlle.
He did what he did naturally and
with that unconscious certainty
swlic., Is ever the mark OF the
master, But there is no doubt for
all that, that Raphael was a keen
student. He was student with
out hours for study-he was a
student every moment Of his life
in all his working time. face on
the street. a note OF color IN a gar
ment at a reception, glimpse at
some new statue unearthed from
the ruins of Rome, a sunset or a &
blue sky or the color values OF
spring and autumn all were noted I
all slowed away in the retentive
memory to come forth whenever oc-
casion required.
He could paint splendid portralt.
could paint religious subject and
strike pitch higher than any any, OF ms
contemporaries; could draw and paint
in the classic spirit and rival the best .
Greek or Roman work; could keep
whole host of students and artisans
at work, superintend the excavating
of Roman ruins, make architectural
drawings and yet find time to do
many other things, besides being a
sort of social lion In Rome. Cav.
alascalle describes his state at the
age of Sc:
wherever he went he was follow
ed by'a host OF clients and depcn-
dents; those who wanted pictures.6nntd
came humbly begging for mas ter
piece. were contented ito take What
thew could get, even though 1t should
he work, not of Raphael, but his nv
n,erous disciples, Festivals and the
atr!cals were successful in proportion
as he directed them; palaces, villas
chapels and churches were raised
from their foundations, or transform
ed into new edfices, under his care
or with his approval Every person
with whom he came in contact felt
the magic of his influence. An all
compelling pope, naughty cardinals
aud irrenressible diplomats smiled
alike on tho artist"
A year later lie died of the awful
Roman fever caught while exploring
3tand excavatinE old ruins
4 The "Hnurs," Of which the above
is the "F!fth Hour Of the Might,
were a series Of ~ figures orig'nalll y3
PAINTED on the ceiling Of the Borgla
Apartment In 3 the Vatican and later
cnni%l In the Loggla OF the vatican
THESE typ!Aed the hours Of PAGAN
classic antIauity--siy for the night ana
six for the day. And these were
drawn in the true classic spirit,
Raphael equalled the Greeks IN MS
ability to draw dlrapery on a Il figure
& There Is no uncertainty about i, every
line is as. 1t should be. But above
ali he knew how to give the figure
the Impression or, feeling OF moeye'f
n,ent-.as II flying gently through
space, and the sdrapery is never other
Il than In perfect harmony VII y TINS
a esired movement, He could ely Y q
figure rpoIse'--jpst the right polsev-
\ in the aIrfmuch as the Greeks did.
h IA There are splendid examines OF THIS
'"poise', in some Of the Greek flgurines
4 from 3Tanagra In the Boston n useun'3
4 of Fine1 Arts,
5Murillo could convey, this same I'M
preston very we'll in his Madonnas
Il and boating cherubs, but Ra phael has
not been excelled In EXPRESSING TINS
.n,,slity Of aerial motion, y otap pc