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It was the intention of Michelangelo to paint the Fall of Lucifer on the wall opposite to the Last Judgment. The cartoons of this design, or some of them, were actually made; and a fresco was painted from them by one of his scholars in the church of the Trinità de' Monti, but it has long since perished.

If Michelangelo had executed this work, the decorations of the Sistine Chapel would have illustrated the whole cycle of Biblical types and antitypes connected with the creation and regeneration of man. The Fall of Lucifer would have been the commencement of this cycle. Then would follow the paintings of the ceiling, illustrating the creation and the fall of man; with which are connected the Prophets and Sibyls, the Jewish subjects, and the genealogy of Christ, in commemoration of the promised redemption. Below these again, on the walls of the chapel, in the tapestries from the Cartoons of Raphael and other works, the advent of the Redeemer is represented, and the actual regeneration of man is commenced. The whole series is closed by the final scene of the Judgment, and the reconciliation of God with man. Such is the high import of the vast series of pictorial decorations in the chapel of the Popes at Rome.'

the Incendio del Borgo. The Prophets and Sibyls on the ceiling of the Sistine Chapel are still in a good state of preservation. The etchings of these great works by Piroli convey an adequate idea of their character. There is a large copy of the Last Judgment at Paris, which was made for Louis-Philippe, by the late French painter Sigalon; it is in the Chapel of the Académie des Beaux Arts. There are also several large copies from the paintings of the Stanze, in the Louvre at Paris. There is a large print of the Last Judgment, in eleven pieces, by Giorgio Ghisi, called Mantovano.

1 An authority for Michelangelo, besides Vasari, is his scholar Condivi, “Vita di Michelagnolo Buonarroti, Gentiluomo Fiorentino, Pittore, Scultore Architetto e Poeta," in folio, Florence, 1746, but first published in 1553, that is, during Michelangelo's life-time. His Poems, chiefly sonnets, were first published by his greatnephew, Michelangelo Buonarroti, at Florence, in 1623, and again by Bottari in 1726. Select specimens have been published in English by Mr. J. E. Taylor, "Michelangelo, Considered as a Philosophic Poet; with Translations," &c., 8vo., London, 1840. A "Life of Michelangelo," by Mr. J. S. Harford, was published in 1856, London, 2 vols., Svo., with a folio of plates.

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JULIO ROMANO. "THE WOMAN TAKEN IN ADULTERY."

(FROM THE ENGRAVING BY DIANA GHISI.)

Page 231.

THE SCHOOL OF RAPHAEL.

CHAPTER XX.

DRAMATIC COMPOSITION, DIGNITY OF FORM.

RAPHAEL had many scholars and imitators; and among them are comprised a majority of the greatest painters who succeeded him in Italy. But the great school established by him in Rome was broken up and dispersed through the wretched political disorders which overwhelmed the papal capital in the year 1527.

Of his scholars, GIULIO PIPPI, born at Rome in 1492 or 1498, and commonly called JULIO ROMANO, was the most eminent. His family name was Giannuzzi, his father was Pietro di Pippo or Pippi (for Filippo) dei Giannuzzi: Giulio became early the pupil and assistant of Raphael at Rome.' He was distinguished for the correct and powerful design of Raphael, but in other respects he scarcely approached him. Although he possessed great powers of invention, there is a want of sentiment and expression in his works, and his design and colouring are heavy. The heaviness of his colouring has been attributed to the circumstance of his having been much employed by Raphael in the dead colouring of his oil-pictures.

After the completion of the great series of frescoes in the Hall of Constantine in the Vatican, which, as already observed, he painted with the assistance of Gianfrancesco Penni, from the designs of Raphael, after that great painter's death, Giulio was in 1524 invited to Mantua, by the Duke Federigo Gonzaga, and he there painted in the Palazzo del Tè his celebrated frescoes of the Fall of the Giants,2 and the story of Cupid and Psyche. These frescoes were however executed chiefly from Giulio's designs, by his scholars, of whom Benedetto Pagni, Rinaldo Mantuano, and Primaticcio, were the principal: the last worked with Giulio Romano for six years.

Of Giulio Remano's oil-pictures, two of the most celebrated are the Martyrdom of San Stefano, in the church of that saint at Genoa ; and a large familiar Holy Family at Dresden, quite Raphaelesque; it was painted for the Duke Federigo of Mantua, and is one of the best works of its class extant. The Virgin is represented washing the child, who is standing in a large metal basin, and the little

1 Carlo D'Arco, "Istoria della Vita e delle opere di Giulio Pippi Romano." Fol. Mantua, 1838.

2 Bottani, "Descrizione Storica delle Pitture del Regio-Ducale Palazzo del Tè, fuori della Porta di Mantova detto Pusterla," Mantua, 1783. Some of these frescoes are engraved by P. S. Bartoli; by Diana Ghisi; by Antonio Veneziano; and in D'Arco's "Vita," &c.

St. John is playfully pouring water over him; Elizabeth is standing on one side with a towel in her hands; Joseph is looking on at the opposite side.1

2

Giulio distinguished himself also as an architect and ornamental decorator at Mantua, and through his numerous scholars established an important school of painting there. He died at Mantua, Nov. 1st, 1546. He was married to Elena Guazzo-Landi, in 1529, who survived him, and by whom he left three children. His son Raphael died young, in 1562. One daughter, Virginia, married Ercole Malatesta, and the other, Griselda, was married to Alberto Erri, and settled in Modena, in 1550. Giulio left to each of his daughters a dowry of 1500 scudi.3

GIANFRANCESCO PENNI, coheir with Giulio Romano to Raphael, was born at Florence in 1488. He, however, went early to Rome, and became eventually Raphael's favourite scholar; and he appears to have been in a manner his steward, whence he was commonly called Il Fattore, or Il Fattore di Raffaello. He had more of the grace of Raphael than Giulio, but less vigour : there are copies by him of some of Raphael's most celebrated oil-pictures. Penni is said to have been Raphael's chief assistant in the preparation of the Cartoons for the tapestries of Leo X.; and he assisted him also in the Farnesina. Of his copies, the principal is the "Transfiguration," in the Sciarra Palace, at Rome. Luca Penni was his brother; he also was an assistant of Raphael and of Pierino del Vaga. Gianfrancesco died in 1528, at Naples, where he had at least spread a knowledge of the Roman school.

PIERO BUONACCORSI, commonly called PIERINO DEL VAGA, the brother-in-law of Penni, was likewise one of the painters engaged in the Hall of Constantine. He was born at Florence, June 28th, 1500, but went very young to Rome with a Florentine painter of the name of Vaga, whence his own name. Raphael employed him on the frescoes of the Loggie, and he obtained the reputation of being, after Giulio and Penni, the most able of Raphael's school. Vasari considered him the best designer among the Florentines after

This picture is called "La Sainte Famille au Bassin," or the "Madonna del Bacino;" it is engraved by J. J. Flipart.

2 This is ascertained from the "Archivio della Sanità" of Mantua, in which is the following entry against Nov. 1, 1546 :—“ Sig. Giulio Romano, superintendent of all the ducal buildings, after fifteen days' illness, died of fever, aged forty-seven.” This fixes sufficiently the date of Giulio's death, but his age is most probably incorrectly given. According to this statement he was born in 1498 or even 1499, instead of 1492 as stated by Vasari; and if this be correct he must have been only a boy when first employed by Raphael, in the Vatican. See D'Arco, "Vita," &c.; and Gaye, "Carteggio Inedito," &c.; also the" Kunstblatt," No. 71, 1838, and No. 31, 1847.

3 Campori, “Artisti Estensi," &c., Modena, 1855, p. 372; D'Arco, “Vita,” &c.

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