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There he arriving round about doth flie,
No. LIX.-WEDNESDAY, NOVEMBER 22d, 1820.
RAPHAEL.Raffaello Sanzio, the Prince of Painters, was born April 9th, (March 28th, O.S.) 1483, at Urbino in the States of the Church. His father was himself a painter, though an indifferent one; but it may be observed, that a talent which often manifests itself dimly in a parent, shines out with full lustre in the offspring. The germ has come to its flower; and an early familiarity with the art or science completes what inclination had begud. Raphael, while yet a boy, took leave of his parents with great foodness on both sides, to go under the care of Pietro Perugino, one of the earliest masters of modern art. Pietro's style was crude and monotonous, but he bad a real talent for expression, and thus the finest part of his disciple's genius remained uninjured, perhaps was even prevented from deserting its simplicity. He afterwards introduced his old master by his side, in his famous pic. ture of the School of Athens. On quitting Perugino, he began to dow sign at Sienda; but was speedily called off by the fame of Da Vinci and Michael Angelo to Florenco. Here, after improving his manner by the admiration of the works of those great men, he fell with equal zeal and patience to the study of the ancient scalptures; and what with these, and his own natural genius, sacceeded in forming a style of united sweetness and power, which placed him on the throne of his art. A certain felicity attended him in all that he did. His genias was strictly what is called happy, that is to say, original, easy, and fertile.
he lived in was a great one, for his own art as well as others, yet his fame was at its height in his life-time; and he lived to see his school support it. His disciples, one of whom was the famous Giulio Romano, were so attached to him, that they followed him about like a guard of honour. He had the pleasure of having Giulio Romano with him at his dioner-table every day, till he died. His mistress, the celebrated Fornarina, who was also his friend and companion to the last, and to whom he did not hesitate openly to leave the bulk of his property, has the reputation of having been as handsome as she was amiable. He himself was one of the most handsome, graceful, and good-tempered of
men. If his life was comparatively short, there is no knowing how much he may have crowded into it. It appears to have been full of pleasing images; and there was not one that presented itself to his mind, but what his hand could as easily transfer to the canvas
The very number of his works is not among the least of his wonders. In short, he was honoured and caressed by the powerful, enriched by the rich, admired and esteemed by the many, and had the love of the fair, and the friendship and panegyric of men of genius.-Raphael died, as he was born, on a Good Friday, in the year 1520, having just conpleted his 87th year. In those days, when the papal sceptre was in the hands of the Medici, men of genius were rewarded by churchdignities. . Bibbiena, who began with a comedy, ended with being a cardinal : so did Bembo, who commenced with love and poetr
poetry : and the like honour, it is said, was intended for our painter. Others say, that Cardinal Bibbiena intended his niece for him,--an honour, which though more to his taste, he is said to have repeatedly put off, probably out of love for the companion of his heart. Perhaps the talk about the cardinal's hat was one of the best modes that could be found of avoiding the wife." He was
as 20 fond of La bella Fornaria, that the same s
story is related of him as of Sacchini the musiciair, who resembled him in the amatory part of his genias. When he painted the story of Cupid and Psyche on the walls of the Chigi palace, he was so perpetually going away and staying with his fair friend, that Chigi at last prevailed on him to let him shut them both up togegether in the rooms that were to be adorned. They were so ; and Cupid and Psyche were painted, as it were, at the light of her eyes. His death is said to have been owing to them
mistaken treatment of a nervous fever, the canse of which, delicate in his excésses, he scrupled to mention to the physician. But it is understood, that his intense sense of the beautiful devoured him. It is to be observed, that there was one deficiency in oar painter's genius, which was remarkable, and the supply of which might have helped to balance the other part of his temperament. In all his works, he shews a singular absence of the love of rural nature. A tree or so is an absolute god-sind. His want of a sylvan imagination even degenerates sometimes into meanness. We know not what his friend Ariosto inust have thought of his picture of Parnassus : but instead of any luxuriance of laurel-trees, which he might at least have suggested in the back ground, he has divided it into three uniform i
parts with three little patches of them, and the Castalian stream issues out of an absolute rain-spout. It is probable, from these and other considerations, that he led a very sedentary life, almost exclusively in the city of Rome, and thus rendered his system still more sensitive than it was by nature to the impression of flesh
in all its varieties of thought as well as beauty, he was never approached. Corregio apprehends as well, perhaps even betler, a certain exquisite maternity and tenderness: but to these Raphael adds every other grace under heaven. Michael Angelo impresses upon us a certain weight of reflection, amounting to the ponderous; but with all his undoubted greatness, he resoris too much to violence in his very repose. There is too much
affectation in him of force and muscle. IIe cannot sufficiently divest power of the physical; and mistakes Ilercules for Jupiter. Raphael knows when to be violent too, and how to make violence intellectual; but still 66
as with a difference.” In his Paul preaching at Athens, how admirably has he not contrived to shew the naturally fierce character of the saint, sublimated into a zeal for mankind! In the same picture, is a gross man of the world, a candid doubter, a sneering one, a stoic and his pupil, the latter making up for his want of the venerable and austere by muslling himself in his cloak, and an Epicurean and his pupil, a youth as harmonious in all his faculties as we might suppose Raphael to have been himself. His Christ in the boat is the very acme and tenderest top of all that is meek and sublimated in the character of Christian humility. , Leonardo da Vinci's is fine; it is enthusiastic, prophetic, intellectually dominant. Michael Angelo's is as warlike as Christianity is apt to be. But Raphael's alone is what is understood by Christian perfection. It is powerful from the very negation of power. A sentiment sustains it, or it looks as moveable as the gentlest air on the water. To smite that cheek, seems as if it would be to shatter the benignity of the summer heavens, and to provoke the downfall of the universe. The translation of Raphael's works upon copper is more difficult than that of most painters, because he deals so much in delicacy of expression; yet he seems to have inspired the engravers. In his Siege of Rome, the Attila, without being a caricature, is a crowned animal; and the very trumpets, to which he has given dragon-mouths, seem ready to split with the expansion of their jaws and the violence of their outcry. Then turn to his more theological works or to his School of Athens, and you repose at the feet of all that is sage and quiet. You shall have a churchman piercing into the depth of a mystery, or a boy trying to solve a problem, with equal voluminousness of expression. You shall have a young canon blushing over his infidelity at a miracle, and opposite him a Pope kneeling in all the united complacency of his belief and his rank; on one side a number of cager faces pressing to get a sight of the phenomenon; on another, a set of high and dark faces of the finest times of Italy; on another, two boys officiating in surplices, whose young bodies seem palpable through the very folds of their drapery. Then go to the Madonnas and children, and almost wish to be a Catholic ; and then again to the series of Cupid and Psyche, and rejoice like a bridegroom to run your course.
Illness again compels the Editor to make up his paper as well as he
He would have his revenge upon it, if he could, and write upon an author's diseases; but he is forbidden. Robin Hood therefore must sing some of his carols for him to his worthy masters and mistresses.” A specimen is added, of the forthcoming number of the Literary Pocket-Book mentioned in his last; and the number concludes with a characteristic portrait which originally appeared in the EXAMINER, but which is fitter for its present situation.
ROBIN HOOD, AN OUTLAW. Robin Hood is an outlaw bold
Under the greenwood tree;
Is more at large than he.
Who joined him laughing-eyed;
And they remained beside. All the stoutest of the train,
That grew in Gamelyn wood, Whether they came with these or not,
Are now with Robin Hood.
Would speak him an ill word;
Nor even feature stirred:
Who dined in the Abbey halls;
His true friends from his false.
All monkery his glee ;
His face but tenderly:
Lord ! that in this life's dream
That would remain with them. We canno: bid our strength remain,
Our cheeks continue round; We cannot say to an aged back,
Stoop not towards the ground:
Things as bright as ever;
That they'll forsake us never:
Friendship, fall off from thee;
Nothing shall part us three.
HOW ROBIN AND HIS OUTLAWS LIVED IN THE WOODS.
Robin and his merry men
Lived just like the birds ;
And whistles and songs as words.
‘of the sun's up-looking eye; But not an arcber breakfasted
Till he twinkled from the sky.
To fly their grey-goose quills
Till theirs was the skill of skilis.
With swords too they played lustily,
And at quarier-staff';
Which only made them laugh.
When like princes of the wood,
Pure venison was their food. Pure venison and a little wine,
Except when the skies were rough ; Or when they had a feasting day;
For their blood was wine enough. And story then, and joke, and song,
And Harry's harp went round; And sometimes they'd get up and dance,
For pleasure of the sound. Tingle, tangle! said the harp,
As they footed in aod oui : Good lord ! it was a sight to see
Their feathers float about;-
If Margery was there,
Or Moll with the clumps of liair ;
other From the neighbouring villages, Who came with milk and eggs, or fruit,
A singing through the trees. For all the country, round about
Was fond of Robin Hood, With whom they got a sliare of more
'Than the acorus in the wood; Nor ever would he suffer harm
To woman, above all; No plunder, were she ne'er so great,
No fright to great or small; No,-not a single kiss unliked,
Nor one look-saddening clip; Accurst be le, said Robin Hood,
Makes pale a woman's lip. Only on the baughty rich,
And on their unjust store, He'd lay his fines of equity
For his merry men and the poor. And special was his joy no doubt
(Which made the dishi 10 curse) To light upon a good fat friar,
Aud carve bim of his purse. A monk to him was a toad in the liole,
And an abbot a pig in grain, Bui a bishop was a baron of beef,
With cut and come again. Never poor mau came for help,
And went away denied ; Never woman for rediess,
And went away wet-eyed.