Great Artists, Vol 1. | Page 6

done by his pupils.
As we study these pictures of the joys and sorrows of this beautiful pair,
we are interested, but we regret that our angel-painter was willing, even
for a short time, to leave his own proper subjects, the religious. We feel
like saying, "Let men who know not the depth of religious feeling, as
did Raphael, paint for us the myth and the secular story, but let us save
from any earthly touch our painter of sacred things."
In 1513 the great Julius died, and Leo X., a member of the famous
Medici family of Florence, succeeded to his place. Raphael was in the
midst of his paintings in the Vatican, and for a time it was uncertain
what the new Pope would think of continuing these expensive
decorations. Though lacking the energy of Julius, Leo continued the
warrior-pope's policy regarding art works. So Raphael went on
unmolested in his work, with now and then a great commission added.
During the life of Leo the power of the Church sunk to a low level, and
yet the angel-painter of the Vatican pursued in peace the composition
and painting of his lovely works.
The "St. Cecilia" was a very important work painted about the time of
Julius' death. It was painted for a wealthy woman of Bologna to adorn a
chapel which she had built to St. Cecilia, the patroness of music. She
had built this chapel because she thought she heard angels telling her to
do it; in other words she had obeyed a vision.

In the picture the saint stands in the centre of a group made up of St.
John, St. Paul, St. Augustine, and Mary Magdalene. She holds
carelessly in her hands an organ from which the reeds are slipping.
What charms can even her favorite instrument have for her when
streams of heaven's own music are reaching her from the angel choir
above? Every line of face and figure shows her rapt attention to the
celestial singers. The instruments of earthly music lie scattered
carelessly about.
While our attention is held most of all by the figure of St. Cecilia, the
other persons represented interest us too, especially St. Paul, leaning on
his naked sword. (See illustration.) His massive head and furrowed
brow show man at his noblest occupation--thinking. In delightful
contrast is the ever beautiful St. John, the embodiment of youth and
love.
[Illustration: ST. CECILIA. Raphael.]
When the picture was completed Raphael sent it to his old friend
Francia, the artist of Bologna. It is related that Francia, on seeing the
wonderful perfection of the picture, died of despair, feeling how poorly
he could paint as compared with Raphael. Whether this story be true or
not, it is certain that the people of Bologna were much excited over the
arrival of the picture and gloried in possessing the vision of St. Cecilia.
The picture is still to be seen in Bologna, where it retains its brilliant
coloring, slightly mellowed by the passing years.
The Sistine Chapel was the most beautiful apartment in the Vatican. Its
walls were covered with choicest frescos. Its ceiling, done by the
wonder-working hand of Michael Angelo, was a marvel. To add still
more to the beauty of this Chapel, Leo ordered Raphael to draw
cartoons for ten tapestries to be hung below the lowest tier of paintings.
Now you know that cartoons are the large paper drawings made
previous to frescos and tapestries to serve as patterns.
Raphael selected ten subjects from the Acts of the Apostles. His
designs were accepted and sent to Arras in Flanders where the most
beautiful tapestries were manufactured. The cartoons were cut into

strips that they might be more conveniently used. In 1518 the tapestries,
woven of silk, wool, and gold, were finished and brought to Rome,
where they were greatly admired.
[Illustration: MIRACULOUS DRAUGHT OF FISHES. Raphael.]
In 1527, Rome was sacked by savage soldiers and many of her choicest
things carried away. Among them were these tapestries. They were sold
and then restolen by Jews, who thought to separate the gold by burning
them. They tried this with one and found that the quantity of gold was
so small that it was not worth the trouble, and so the others were spared
and sold to a merchant of Genoa. They were finally recovered in a
faded condition and are now in the Vatican.
Meanwhile the cartoons were forgotten and three of them lost. The
Flemish artist, Rubens, came across those remaining, however, and
recommended Charles I. of England to purchase them for his palace at
Whitehall. Later Cromwell bought them for the nation, and today we
may see them pasted together and carefully mounted in South
Kensington Museum, London. "The Miraculous Draught of Fishes,"
(see opposite page,) is one of