The early work of Raphael . have ever attained. In scientific knowledge and technicalcompleteness, in the vivid representation of human life and emotion, theUrbinate had far surpassed his teachers, and stood on a level with the firstmasters of the day. The citizens of Perugia might well applaud hislatest achievement, and had good reason to raise an indignant protestwhen this altar-piece, which was the proudest treasure of their cathedral,was presented by the Franciscan friars to Cardinal Borghese, afterwardsPope Paul V. Since then Raphaels Entombment has been the chiefornament of the Borghese
The early work of Raphael . have ever attained. In scientific knowledge and technicalcompleteness, in the vivid representation of human life and emotion, theUrbinate had far surpassed his teachers, and stood on a level with the firstmasters of the day. The citizens of Perugia might well applaud hislatest achievement, and had good reason to raise an indignant protestwhen this altar-piece, which was the proudest treasure of their cathedral,was presented by the Franciscan friars to Cardinal Borghese, afterwardsPope Paul V. Since then Raphaels Entombment has been the chiefornament of the Borghese Gallery, and has now been removed, with theremainder of that collection, to the villa outside the Porta del Popolo. The predella of this altar-piece, unlike most pictures of this class, is THE EARLY WORK OF RAPHAEL 7i distinguished by originality of subject and excellence of execution. Thethree Christian Graces, Faith, Hope, and Charity, are here painted inchiaroscuro on round panels, each of them accompanied by two winged. The Entombment. By Raphael. Borghese Gallery, a photograph by Alinari, by permission. genii. Faith bears in her hand the chalice and host, as the symbol ofredemption ; Hope clasps her hands and lifts her eyes heavenward in thecalm certainty of unshaken trust. Charity, a Madonna-like form with ahandkerchief twisted round her brows, folds three fair children in her 72 THE EARLY WORK OF RAPHAEL arms, while two more cling to her side, and seem to ask for a share in herembrace. The sketch of this noble figure is in the Albertina Collection,on the back of another of the many studies which Raphael made forAtalanta Baglionis altar-piece. In October 1507, while the painter, in all probability, was stillat work upon his Entombment, he was suddenly summoned to appearbefore the law-courts of Urbino. Some time before this, the heirsof Serafino Cervasi di Montefalcone had sold him a house for 100scudi, and had given him a nominal receipt, although the moneyhad n
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
