Famous European Artists Part 7

Among his inventions were "a proportional compa.s.s, a lathe for turning ovals, an hygrometer; an ingenious surgical probe, a universal joint, dredging machines, wheelbarrows, diving-suits, a porphyry color-grinder, boats moved by paddle-wheels, a roasting-jack worked by hot air, a three-legged sketching-stool which folded up, a revolving cowl for chimneys, ribbon-looms, coining presses, saws for stone, silk spindles and throwers, wire-drawing and file-cutting, and plate-rolling machines." No wonder he was called the "all-knowing Leonardo."

All his work as a poet is lost, save one sonnet:--

"Who cannot do as he desires, must do What lies within his power. Folly it is To wish what cannot be. The wise man holds That from such wis.h.i.+ng he must free himself.

Our joy and grief consist alike in this: In knowing what to will and what to do; But only he whose judgment never strays Beyond the threshold of the right learns this.

Nor is it always good to have one's wish; What seemeth sweet full oft to bitter turns.

My tears have flown at having my desire.

Therefore, O reader of these lines, if thou Wouldest be good, and be to others dear, Will always to be able to do right."

In Richter's works of Leonardo are many fables: "A razor, having come out of the sheath in which it was usually concealed, and placed itself in the sunlight, saw how brightly the sun was reflected from its surface. Mightily pleased thereat, it began to reason with itself after this fas.h.i.+on: 'Shall I now go back to the shop which I have just quitted? Certainly it cannot be pleasing to the G.o.ds that such dazzling beauty should be linked to such baseness of spirit. What a madness it would be that should lead me to shave the soaped beards of country b.u.mpkins! Is this a form fitted to such base mechanical uses? a.s.suredly not. I shall withdraw myself into some secluded spot, and, in calm repose, pa.s.s away my life.'

"Having therefore concealed itself for some months, on leaving its sheath one day and returning to the open air, it found itself looking just like a rusty saw, and totally unable to reflect the glorious sun from its tarnished surface. It lamented in vain this irreparable loss, and said to itself, 'How much better had I kept up the lost keenness of my edge, by practising with my friend the barber. What has become of my once brilliant surface? This abominable rust has eaten it all up.' If genius chooses to indulge in sloth, it must not expect to preserve the keen edge which the rust of ignorance will soon destroy."

Richter also gives many pages of terse moral sentiments, showing that Da Vinci, in his more than thirty years of writing,--he began to write when he was about thirty,--had thought deeply and probably conformed his life to his thoughts.

"It is easier to contend with evil at the first than at the last.

"You can have no dominion greater or less than that over yourself.

"If the thing loved is base, the lover becomes base.

"That is not riches which may be lost; virtue is our true good, and the true reward of its possessor. That cannot be lost, that never deserts us, but when life leaves us. As to property and external riches, hold them with trembling; they often leave their possessor in contempt, and mocked at for having lost them.

"Learning acquired in youth arrests the evil of old age; and if you understand that old age has wisdom for its food, you will so conduct yourself in youth that your old age will not lack for nourishment.

"The acquisition of any knowledge is always of use to the intellect; because it may thus drive out useless things, and retain the good.

"Avoid studies of which the result dies with the worker.

"Reprove your friend in secret, and praise him openly."

In the midst of the corruption of that age, we hear no word breathed against the character of this eager, brilliant, many-sided man. He won from his pupils the most complete devotion, and he seems to have given as fond an affection in return. This possibly satisfied the craving of the human heart for love. Perhaps, after all, life did not appear as satisfactory as he could have wished, with all his wors.h.i.+p of the beautiful, for he says, "When I thought I was learning to live, I was but learning to die." He seemed at the zenith of his powers when death came; but who shall estimate the value of a life by its length? He said, "As a day well spent gives a joyful sleep, so does life well employed give a joyful death.... A life well spent is long."

RAPHAEL OF URBINO.

"In the history of Italian art Raphael stands alone, like Shakespeare in the history of our literature; and he takes the same kind of rank--a superiority not merely of degree, but of quality.... His works have been an inexhaustible storehouse of ideas to painters and to poets.

Everywhere in art we find his traces. Everywhere we recognize his forms and lines, borrowed or stolen, reproduced, varied, imitated,--never improved.

[Ill.u.s.tration: RAPHAEL OF URBINO.]

"Some critic once said, 'Show me any sentiment or feeling in any poet, ancient or modern, and I will show you the same thing either as well or better expressed in Shakespeare.' In the same manner one might say, 'Show me in any painter, ancient or modern, any especial beauty of form, expression, or sentiment, and in some picture, drawing, or painting after Raphael I will show you the same thing as well or better done, and that accomplished which others have only sought or attempted.'

"To complete our idea of this rare union of greatness and versatility as an artist with all that could grace and dignify the man, we must add such personal qualities as very seldom meet in the same individual--a bright, generous, genial, gentle spirit; the most attractive manners, the most winning modesty."

Thus writes Mrs. Jameson of the man of whom Vasari said, "When this n.o.ble artist died, well might Painting have departed also, for when he closed his eyes, she too was left, as it were, blind.... To him of a truth it is that we owe the possession of invention, coloring, and execution, brought alike, and altogether, to that point of perfection for which few could have dared to hope; nor has any man ever aspired to pa.s.s before him."

Raphael of Urbino was born at Colbordolo, a small town in the Duchy of Urbino, April 6, 1483. His father, Giovanni Santi, was a painter of considerable merit, and was possessed also of poetic ability, as he wrote an epic of two hundred and twenty-four pages, in honor of Federigo of Montefeltro, then Duke of Urbino. This duke was a valiant soldier, and a patron of art and literature, who for years kept twenty or thirty persons copying Greek and Latin ma.n.u.scripts for his library.

The mother of Raphael, Magia, the daughter of Battista Ciarla, a merchant at Urbino, was a woman of unusual sweetness of disposition and beauty of character. Unfortunately she died when Raphael was eight years old. Her three other children died young.

These years must have been happy ones to the gentle, loving child. Their home was in the midst of the snowy peaks of the Apennines, looking towards the blue Adriatic. It is not strange that he became a wors.h.i.+pper of the beautiful. Nature soon grows to be an inspiring companion to those who love her. She warms the heart with her exquisite pictures of varied earth and sky; she caresses us with the glow of sunlight and the fragrance of flowers; she sings us to rest with the melody of the sea and the murmur of the trees and the brooks.

Giovanni Santi married for his second wife Bernardina, the daughter of the goldsmith, Pietro di Parte, a woman of strong character, but lacking the gentleness of Magia. Two years after this marriage he died, leaving Raphael doubly orphaned at eleven years of age. What prospect was there that this boy, without father or mother, without riches or distinguished family, would work his way to renown?

The will of Giovanni left the Santi home to Bernardina as long as she remained a widow, and the child to her care and that of his brother, a priest, Don Bartolomeo. The latter does not appear to have been a very saintly minister, for he and Bernardina quarrelled constantly over the property, quite forgetting the development of the boy left in their charge. Finally Magia's brother, Simone di Battista Ciarla, came to an understanding with the disputants, and arranged that the lad, who had worked somewhat in his father's studio, should be placed under some eminent painter.

Pietro Perugino was chosen, an artist who had one of the largest schools in Italy, and who was noted especially for his coloring and profound feeling. It is said that when he examined the sketches of the boy, he exclaimed, "Let him be my pupil: he will soon become my master."

Perugino had been a follower of Savonarola, but after he had seen that good man put to death, he gave up his faith in G.o.d and man. When he was on his death-bed, he refused to see a confessor, saying, "I wish to see how a soul will fare in that Land, which has not been confessed."

For nine years Raphael worked under Perugino at Perugia, studying perspective and every department of art, and winning the love of both master and pupils. When he was seventeen, Pa.s.savant, in his life of Raphael, says, the young artist painted his first works, his master being in Florence: a banner for the church of the Trinita of Citta di Castello, and the "Crucifixion." The banner has the "Trinity" on one sheet of canvas, and the "Creation of Man" on the other. The "Crucifixion" was bought by Cardinal Fesch at Rome, and at the sale of his paintings, in 1845, was purchased for about twelve thousand five hundred dollars. It is now in Earl Dudley's collection.

About this time the "Coronation of the Virgin" was painted for Madonna Maddalina degli Oddi, a lady of great influence, who obtained for Raphael several commissions, concerning which he expresses great joy in his letters. How many are willing to employ an artist after he is famous; how few before! A woman had the heart and the good sense to help him in these early years, and she helped the whole art world thereby.

This picture was kept in the Franciscan church at Perugia until 1792, when it was sent to Paris, but was restored to Italy by the treaty of 1815, and is now in the Vatican.

For a friend of Perugia he painted the beautiful Connestabile Madonna.

"The mother of the Saviour," says Pa.s.savant, "a figure of virginal sweetness, is walking in the country, in early spring, when the trees are still bare, and the distant mountains are covered with snow. She is walking along pensively, reading in a little book, in which the child in her arms also looks attentively. Nothing could be found more exquisite.

Everything in it shows that Raphael must have devoted himself to it with especial ardor."

This picture, only six and three-fourths inches square, was sold in 1871 to the Emperor of Russia for sixty-six thousand dollars.

Raphael left the studio of Perugino in the beginning of 1504, before he was twenty-one, and painted for the Franciscans, at Citta di Castello, the "Marriage of the Virgin," now the chief ornament of the Brera gallery at Milan, and called the "Sposalizio." "The Virgin is attended by five women, and St. Joseph by five young men who were once Mary's suitors. The despair of the lovers is shadowed forth by the reeds they hold; they will never flower; and the handsomest youth is breaking his across his knees."

Grimm says of this picture, "Next to the Sistine Madonna, it may be considered Raphael's most popular work. In the figures of this composition we recognize types of all the different ages of man, which allow every one who stands before it, whether young or old, to feel as if the artist had been the confidant of all the thoughts and feelings appropriate to his period of life.... Raphael's elegance obtrudes itself nowhere, as with other artists is so often the case. Beside this, the harmony of his colors, which, although hitting against one another almost sharply, still have the effect of a bed of flowers whose varied hues combine agreeably. A youthful delight in the brilliancy of color is apparent, which later yielded to a different taste. Like Durer, Raphael might have confessed, in his ripest years, that while young he loved a certain garishness of coloring, such as he had afterward renounced."

Raphael now returned to Urbino, where he painted for the reigning duke, "St. George slaying the Dragon" and "St. Michael attacking Satan." He made many friends among the noted people of the court, but, full of ambition, and having heard of the works of Da Vinci and Michael Angelo at Florence, he was extremely anxious to go to that city. A lady, as previously, took interest in the boyish artist, and wrote to Pietro Soderini, the Gonfaloniere of Florence, the following letter of introduction:--

"_Most magnificent and powerful lord, whom I must ever honor as a father_,--

"He who presents this letter to you is Raphael, a painter of Urbino, endowed with great talent in art. He has decided to pa.s.s some time in Florence, in order to improve himself in his studies. As the father, who was dear to me, was full of good qualities, so the son is a modest young man of distinguished manners; and thus I bear him an affection on every account, and wish that he should attain perfection. This is why I recommend him as earnestly as possible to your Highness, with an entreaty that it may please you, for love of me, to show him help and protection on every opportunity. I shall regard as rendered to myself, and as an agreeable proof of friends.h.i.+p to me, all the services and kindness that he may receive from your Lords.h.i.+p.

"From her who commends herself to you, and is willing to render any good offices in return.

"JOANNA FELTRA DE RUVERE, [_sic._]

"d.u.c.h.ess of Sora, and Prefectissa of Rome."

With this cordial letter from the sister of the Duke of Urbino, he entered the City of Flowers. He was now a youth of twenty-one, slight in figure, five feet eight inches tall, with dark brown eyes and hair, perfect teeth, and the kindest of hearts. He was received into the homes of the patricians, and was asked to paint pictures for them. Meantime he used every spare moment in study. Especially did the works of Masaccio and Leonardo da Vinci, says Pa.s.savant, "reveal to Raphael his own wonderful powers, until then almost concealed. Awakened suddenly, and excited with the inspiration that seemed all at once to flow in on him from every side, he pushed forward at once towards the perfection he was so soon to attain."

He copied the hors.e.m.e.n in Da Vinci's battle of Anghiari; made sketches from life of the children of the Florentines, in his book of drawings, now to be seen in the Academy of Venice; stood entranced before the gates of Ghiberti, and that marvel of beauty, the Campanile of Giotto.