See also:

• RAPHAEL (Hebrew smm, " God heals ")

RAPHAEL SANZIO (1483–1520)  , the See also:

• GREAT

great See also:

• ITALIAN

Italian painter, was the son of Giovanni Sanzio or Santi, a painter of some repute in the ducal See also:

• CITY (through Fr. cite, from Lat. civitas)

city of See also:

• URBINO (anc. Urvinum Mataurense)

Urbino, situated among the See also:

• APENNINES (Gr. 'A1T- vvLvos, Lat. Appenninus—in both cases used in the singular)

Apennines on the See also:

• BORDERS, THE

borders of See also:

• TUSCANY
• TUSCANY (Toscana)

Tuscany and See also:

• UMBRIA
• UMBRIA ('Opj3pucrl)

Umbria.' For many years both before and after the See also:

• BIRTH (a word common in various forms to Teutonic languages from the root of the verb " to bear ")

birth of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael (6th of See also:

• APRIL

April 1483) the city of Urbino was one of the See also:

• CHIEF (from Fr. chef, head, Lat. caput)

chief centres in See also:

• ITALY
• ITALY (Italia)

Italy of intel- ' See Pungileoni, Elogio Storico di Raffaello (Urbino, 1829) ; for a valuable See also:

• ACCOUNT
• ACCOUNT (through O. Fr. acont, Late Lat. comptum, cornputare, to calculate)

account of Raphael's See also:

• FAMILY

family and his See also:

• EARLY
• EARLY, JUBAL ANDERSON (1816-1894)

early See also:

• LIFE

life, see also, Id., Vita di Giov . Santi (Urbino, 1822), and Campori, Notizie e Documenti per la Vita di Giov . Santi e di Raffaello (See also:

• MODENA (ancient Mutina)

Modena, 1870) . 2 See an interesting account of the See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

court of Urbino by See also:

• DELABORDE, HENRI FRANCOIS, COUNT (1764-1833)

Delaborde, Etudes sur See also:

• LES

les B . Arts . . . en Italie (See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris, 1864), vol. i. p . 145 . 3 The See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house of Giovanni Santi, where Raphael was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born, still exists at Urbino in the Contrada del See also:

• MONTE

Monte, and, being the See also:

• PROPERTY

property of the See also:

• MUNICIPALITY

municipality, is now safe from destruction . See the See also:

• VICTORIA
• VICTORIA (or VITTORIA), TOMMASSO LUDOVICO DA (C. I540-C. 1613)
• VICTORIA [ALEXANDRINA VICTORIA]

Victoria See also:

• COUNTY (through Norm. Fr. comae, cf. O. Fr. cunte, conk', Mod. Fr. comae, from Lat. comitatus, cf. Ital. comitato, Prov. comtat; see COUNT)

County See also:

• HISTORY

History, See also:

• SUSSEX
• SUSSEX, EARLS OF
• SUSSEX, KINGDOM OF (SO Seaxe, i.e. the South Saxons)
• SUSSEX, THOMAS RADCLYFFE [or RATCLYFFE], 3RD EARL OF (c. 1525-1583)

Sussex, vol. i.; New See also:

• ENGLISH

English i lectual and See also:

• ARTISTIC

artistic activity, thanks to its highly cultured rulers, See also:

• DICTIONARY

Dictionary; and M . A . See also:

• LOWER

Lower, History of Sussex (See also:

• LEWES
• LEWES, CHARLES LEE (1740–1803)

Lewes, 187o) . I See also:

• DUKE (corresponding to Fr. duc, Ital. duca, Ger. Herzog)

Duke Federigo II. of Montefeltro and his son Guidobaldo, who (G .

J . T.) succeeded him in 14.82 ,2 the See also:

• YEAR

year before Raphael was born . Giovanni Santi was a welcome See also:

• GUEST (a word common to Teutonic languages; cf. Ger. Gast, and Swed. gust; cognate with Lat. hostis, originally a stranger, hence enemy; cf. " host " )
• GUEST, EDWIN (1800–188o)

guest at this See also:

• MINIATURE

miniature but splendid court, and the See also:

• RICH, BARNABE (c. 1540-1617)
• RICH, CLAUDIUS JAMES (1787-1821)
• RICH, JOHN (1692-1761)
• RICH, PENELOPE, LADY (c. 1562–1607)
• RICH, RICHARD, 1ST BARON RICH (1490?-1567)

rich treasures which the See also:

• PALACE (Lat. Palatium, the name given by Augustus to his residence on the Palatine Hill)

palace contained, See also:

• FAMILIAR (through the Fr. familier, from Lat. familiaris, of or belonging to the familia, family)

familiar to Raphael from his earliest years, were a very important See also:

• ITEM (a Latin adverb meaning " also," " likewise ")

item among the various influences which formed and fostered his early love for See also:

• ART

art . It may not perhaps be purely fanciful to trace Raphael's boyish admiration of the oil-paintings of See also:

• JAN

Jan See also:

• VAN

Van See also:

• EYCK, VAN

Eyck and Justus of See also:

• GHENT (Flem. Gent, Fr. Gand)

Ghent in the miniature-like care and delicacy with which some of his earliest See also:

• WORKS

works, such as the " See also:

• APOLLO (Gr. 'A2r6XXwv,'Airkkhwv)

Apollo and See also:

• MARSYAS

Marsyas," were executed . Though Raphael lost his See also:

• FATHER

father at the See also:

• AGE (Fr. age, through late Lat. aetaticum, from aetas)

age of eleven, yet to him he certainly owed a great See also:

• PART

part of that early training which enabled him to produce paintings of apparently mature beauty when he was scarcely twenty years of age . The See also:

• ALTAR (Lat. altare, from alias, high; some ancient etymological guesses are recorded by St Isidore of Seville in Etymologiae xv. 4)

altar-piece painted by Giovanni for the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of Gradara, and a See also:

• FRESCO (Ital. for cool, " fresh ")

fresco, now preserved in the Santi house3 at Urbino, are clearly prototypes of some of Raphael's most graceful paintings of the Madonna and See also:

• CHILD
• CHILD, FRANCIS JAMES (1825-1896)
• CHILD, L
• CHILD, LYDIA MARIA (1802-1880)
• CHILD, SIR FRANCIS (1642-1713)
• CHILD, SIR JOHN (d. 1690)
• CHILD, SIR JOSIAH (163o - 1699)

Child . On the See also:

• DEATH

death of his father in 1494 Raphael was See also:

• LEFT

left in the care of his stepmother (his own See also:

• MOTHER

mother, Magia Ciarla, having died in 1491) and of his See also:

• UNCLE

uncle, a See also:

• PRIEST (Ger. Priester, Fr. pretre)

priest called Bartolomeo.' First or Perugian See also:

• PERIOD
• PERIOD (Gr. irepioSos, a going or way round, circuit, aepi, round, and &Sis, way, road)

Period.—In what year Raphael was apprenticed to See also:

• PERUGINO, PIETRO (1446-1524)

Perugino and how the See also:

• INTERVAL

interval before that was spent are matters of doubt . See also:

• VASARI, GIORGIO (1511-1571)

Vasari's statement that he was sent to See also:

• PERUGIA (anc. Perusia)

Perugia during his father's lifetime is certainly a See also:

• MISTAKE (i.e. take amiss)

mistake . On the whole it appears most probable that he did not enter Perugino's studio till the end of 1499, as during the four or five years before that Perugino was mostly absent from his native city.' The so-called See also:

• SKETCH (directly adapted from Dutch schets, which was taken from Ital. schizzo, a rough draft, Lat. schedium, something hastily made, Gr. oxE&os, sudden, off-hand, axeb6v, near by; Ger. Skizze and Fr. esquisse are from the same source)

Sketch See also:

• BOOK

Book of Raphael in the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

academy of See also:

• VENICE
• VENICE (continued)
• VENICE (Venezia)

Venice contains studies apparently from the cartoons of some of Perugino's Sistine frescoes, possibly done as practice in See also:

• DRAWING

drawing . This celebrated collection of See also:

• THIRTY

thirty drawings, now framed or preserved in portfolios, bears signs of having once formed a See also:

• BOUND, or BOUNDARY (from O. Fr. bonde, Med. Lat. bodena or butina, a frontier line)

bound book, and has been supposed to be a sketch-book filled by Raphael during his Perugian See also:

• APPRENTICESHIP (from Fr. apprendre, to learn)

apprenticeship . Many points, however, make this tempting See also:

• HYPOTHESIS (from Gr. inrorcOivat, to put under; cf. Lat. suppositio, from sub-ponere)

hypothesis very improbable; the fact that the drawings were not all originally on leaves of the same See also:

• SIZE

size, and the See also:

• MISCELLANEOUS

miscellaneous See also:

• CHARACTER (Gr. xapareri7p, from xap&crew, to scratch)

character of the sketches—varying much both in See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style and merit of See also:

• EXECUTION (from Lat. ex-sequor, exsecutus, follow or carry out)

execution—seem to show that it is a collection of studies by different hands, made and bound together by some subsequent owner, and may contain but very few drawings by Raphael himself.' Before See also:

• LONG, GEORGE (1800-1879)
• LONG, JOHN DAVIS (1838– )

long Raphael appears to have been admitted to See also:

• SHARE (O. Eng. scearu, chiefly in compounds, e.g. land-scearu, a share of land, from sceran to cut; cf. " shear" )

share in the execution of paintings by his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master; and his See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch can with more or less certainty be traced in some of Perugino's panels which were executed about 1502 . Many of those who, like See also:

• CROWE, EYRE EVANS (1799-1868)
• CROWE, SIR JOSEPH ARCHER (1828-1896)

Crowe and Cavalcaselle, adopt the earlier date of Raphael's apprenticeship, believe that his See also:

• HAND
• HAND (a word common to Teutonic languages; cf. Ger. Hand, Goth. handus)
• HAND, FERDINAND GOTTHELF (1786-185r)

hand is visible in the execution of the beautiful See also:

• SERIES (a Latin word from serere, to join)

series of frescoes by Perugino in the See also:

• SALA, GEORGE AUGUSTUS HENRY (1828-1895)

Sala del Cambio, dated 1500; as does also M .

Miintz in his excellent Raphael, sa See also:

• VIE

vie, Paris, 1881, in spite of his accepting the end of 1499 as the period of Raphael's first entering Perugino's studio, —two statements almost impossible to reconcile . Considering that Raphael was barely seventeen when these frescoes were painted, it is hardly reasonable to attribute the finest heads to his hand; nor did he at an early age master the difficulties of fresco buono . The Resurrection of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ in the Vatican and the Diotalevi Madonna in the See also:

• BERLIN
• BERLIN, CONGRESS AND TREATY OF
• BERLIN, ISAIAH (1725–1799)

Berlin Museum are the See also:

• PRINCIPAL

principal pictures by Perugino in parts of which the touch of Raphael appears to be visible, though any real certainty on this point is unattainable.' About 1502 Raphael began to execute See also:

• INDEPENDENT

independent works; four pictures for churches at Citta di See also:

• CASTELLO, BERNARDO (1557—1629)
• CASTELLO, GIOVANNI BATTISTA (1500 ?–1569 ?)
• CASTELLO, VALERIO (1625-1659)

Castello were probably the earliest of these, and appear to have been painted in the years 15o2-4 . The first is a gild-banner painted on one See also:

• SIDE
• SIDE (mod. Eski Adalia)

side with the Trinity, and below, kneeling figures of S . See also:

• SEBASTIAN
• SEBASTIAN, ST

Sebastian and S . Rocco; on the See also:

• REVERSE

reverse is a Creation of See also:

• EVE

Eve, very like Perugino in style, but possessing more See also:

• GRACE (Fr. grace, Lat. gratia, from grates, beloved, pleasing; formed from the root cra-, Gr. xav-, cf. xaipw, x6p,ua, Xapts)
• GRACE, WILLIAM GILBERT (1848– )

grace and breadth of treatment . These are still in the church of S . Trinita.' Also 1 The See also:

• ADMINISTRATION (Lat. administrare, to serve)

administration of Giovanni Santi's will occasioned many painful family disputes and even appeals to See also:

• LAW
• LAW (0. Eng. lagu, M. Eng. lawe; from an old Teutonic root lag, " lie," what lies fixed or evenly; cf. Lat. lex, Fr. loi)
• LAW, JOHN (1671—1729)
• LAW, WILLIAM (1686-1761)

law; see Pungileoni, El . Stor. di Raffaello . 'Crowe and Cavalcaselle (Life of Raphael, vol. i., See also:

• LONDON

London, 1882) adopt the notion that Raphael went to Perugia in 1495, but the reasons with which they support this view appear insufficient . See an excellent See also:

• CRITICAL (in alphabetical order of authors)

critical examination of the Sketch Book by See also:

• MORELLI, GIOVANNI (1816-1891)

Morelli, Italian Masters in See also:

• GERMAN
• GERMAN, DUTCH AND SCANDINAVIAN

German Galleries, translated by Mrs See also:

• RICHTER, ADRIAN LUDWIG (1803-1884)
• RICHTER, ERNST FRIEDRICH EDUARD (1808–1879)
• RICHTER, EUGEN (1839–1906)
• RICHTER, HANS (1843– )
• RICHTER, JEREMIAS BENJAMIN (1762–1807)
• RICHTER, JOHANN PAUL FRIEDRICH (1763–1825)

Richter (London, 1882); according to Morelli, only two drawings are by Raphael . Schmarsow, " Raphael's Skizzenbuch in Venedig,'° in Preussische Jahrbiicher, xlviii. pp .

122-149 (Berlin, 1881), takes the opposite view . But Kahl, Das venezianische Skizzenbuch (See also:

• LEIPZIG

Leipzig, 1882), follows Morelli's See also:

• OPINION (Lat. opinio, from opinari, to think)

opinion, which has been generally adopted . Parts of Perugino's beautiful See also:

• TRIPTYCH (Gr. rpiary os, three-fold, made in three layers, TpL-, rpeis, three; arux1, a fold; 7rr(uoELv, to fold, double over)

triptych of the Madonna, with the archangels Raphael and See also:

• MICHAEL
• MICHAEL (1596-1645)
• MICHAEL (Hebrew Sn,q, " Who is like God? ")

Michael, painted for the Certosa near See also:

• PAVIA (anc. Ticinum, q.v.)

Pavia and now in the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery of London, have been attributed to Raphael, but with little See also:

• REASON (Lat. ratio, through French raison)

reason . Perugino's See also:

• GRAND

grand altar-piece at See also:

• FLORENCE
• FLORENCE (Ital. Firenze, Lat. Florentia)

Florence of the See also:

• ASSUMPTION, FEAST OF

Assumption of the Virgin shows that he was quite capable of See also:

• PAINTING

painting figures equal in beauty and delicacy to the St Michael of the Certosa triptych . See Frizzioni, L'Arte Italiana nella Gal . Nat. di Londra (Florence, i88o) . s For an account of processional See also:

• BANNERS, FEAST OF (Jap. Nobori-no-Sekku)

banners painted by distinguished artists, see Mariotti, Lettere pittoriche Perugine, p . 76 seq.for Citta di Castello were the See also:

• CORONATION (Lat. corona, crown)

coronation of S . Niccolo See also:

• TOLENTINO (anc. Tolentinum Picenum)

Tolentino, now destroyed, though studies for it exist at See also:

• OXFORD
• OXFORD, EARLS OF
• OXFORD, EDWARD DE VERE, 17TH EARL
• OXFORD, JOHN DE VERE, 13TH EARL OF (1443-1513)
• OXFORD, PROVISIONS OF
• OXFORD, ROBERT DE VERE, 9TH EARL OF (1362-1392)
• OXFORD, ROBERT HARLEY, 1ST

Oxford and See also:

• LILLE

Lille (Gaz. d . B . Arts, 1878, i. p . 48), and the Crucifixion, now in the See also:

• DUDLEY
• DUDLEY, BARONS AND EARLS OF
• DUDLEY, EDMUND (c. 1462—1510)
• DUDLEY, SIR ROBERT (1573—1649)
• DUDLEY, THOMAS (1576-1653)

Dudley collection, painted for the church of S .

Domenico, and signed RAPHAEL VRBINAS P . It is a See also:

• PANEL (O. Fr. panel, mod. panneau, piece of cloth, from Med. Lat. pannellus, diminutive of pannus, cloth)

panel 8 ft.6 in. high by 5 ft . 5 in. wide, and contains See also:

• NOBLE, SIR ANDREW (1832- )

noble figures of the Virgin, St See also:

• JOHN
• JOHN (1167–1216)
• JOHN (1290-c. 1320)
• JOHN (1296-1346)
• JOHN (1371–1419)
• JOHN (1468-1532)
• JOHN (1801-1873)
• JOHN (Heb. llni')
• JOHN (ZAPOLYA) (1487-1540)
• JOHN, 4TH MARQUESS OF TWEEDDALE (c. 1695-1762)
• JOHN, DON (1545-1578)
• JOHN, DON (1629–1679)
• JOHN, GOSPEL OF ST
• JOHN, or HAYS (1513–1571)
• JOHN, THE APOSTLE
• JOHN, THE EPISTLES OF

John, St See also:

• JEROME, JEROME KLAPKA (1859– )
• JEROME, ST (HIERONYMUS, in full EUSEBIUS SOPHRONIUS HIERONYMUS) (c. 340–420)

Jerome and St See also:

• MARY
• MARY (1457-1482)
• MARY (1496-1533)
• MARY, QUEEN OF SCOTS

Mary Magdalene . The See also:

• FOURTH

fourth painting executed for this See also:

• TOWN

town, for the church of S . See also:

• FRANCESCO
• FRANCESCO, 210

Francesco, is the exquisitely beautiful and highly finished Sposalizio, now in the Brera at See also:

• MILAN
• MILAN (Ital. Milano, Ger. Mailand, anc. Mediolanum, q.v.)

Milan, signed and dated RAPHAEL VRBINAS MDIIII . This is closely copied both in See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition and detail from Perugino's painting of the same subject now at See also:

• CAEN

Caen, but is far See also:

• SUPERIOR

superior to it in sweetness of expression and grace of attitude . The See also:

• TEMPLE
• TEMPLE, FREDERICK (1821-1902)
• TEMPLE, RICHARD
• TEMPLE, SIR RICHARD, BART
• TEMPLE, SIR WILLIAM, BART

Temple of See also:

• JERUSALEM (Heb. ^S0-r, Yerushalaim, pronounced as a dual)
• JERUSALEM, SYNOD OF (1672)

Jerusalem, a domed octagon with See also:

• OUTER

outer See also:

• AMBULATORY (Med. Lat. ainbulatorium, a place for walking, from ambulare, to walk)

ambulatory in Perugino's picture, is reproduced with slight alterations by Raphael, and the attitudes and grouping of the figures are almost exactly the same in both . The Connestabile Madonna is one of Raphael's finest works, painted during his Perugian period; it is a See also:

• ROUND (O. Fr. rond, Lat. rotundus, the Fr. is the source also of Du. rond; Ger., Swed., Dan. and Nor. rond)

round panel; the See also:

• MOTIVE (from Lat. movere, to move)

motive, the Virgin See also:

• READING

reading a book of See also:

• HOURS, CANONICAL

hours, is a favourite one with him, as it was with his father Giovanni . This lovely picture was lost to Perugia in 1871, when See also:

• COUNT (Lat. comes, gen. comitis, Fr. comte, Ital. conte, Span. conde)

Count Connestabile sold it to the See also:

• EMPEROR (Fr. empereur, from the Lat. imperator)

emperor of See also:

• RUSSIA
• RUSSIA (Rossiya)

Russia for £13,200 . Second or Florentine Period, zgo4-zgo8.- From 1504 to 15o8 Raphael's life was very stirring and active . In the first See also:

• HALF

half of 1504 he visited Urbino, where he painted two small panels for Duke Guidobaldo, the St See also:

• GEORGE
• GEORGE, 8TH MARQUESS OF TWEEDDALE (1787-1876)
• GEORGE, HENRY (1839—1897)
• GEORGE, LAKE
• GEORGE, SAINT (d. 303)

George and the St Michael of the Louvre . His first and for him momentous visit to Florence was made towards the end of 1504, when he presented himself with a warm See also:

• LETTER (through Fr. lettre from Lat. littera or litera, letter of the alphabet; the origin of the Latin word is obscure; it has probably no connexion with the root of linere, to smear, i.e. with wax, for an inscription with a stilus)

letter of recommendations from hispatroness See also:

• JOANNA (1479-1555)

Joanna della Rovere to the gonfaloniere See also:

• PIER (older forms per or Pere, from Med. Lat. pera; the word for piers out of water. For river piers, where a firm, watertight is of obscure origin, and the connexion with Fr. Pierre, Lat. stratum is found at a moderate depth below the river-bed, the pctr

Pier See also:

• SODERINI, PIERO (1450-1513)

Soderini .

In Florence Raphael was kindly received, and, in spite of his youth (being barely of age), was welcomed as an equal by the See also:

• MAJORITY (Fr. majorite; Med. Lat. majoritas; Lat. major, greater)

majority of those great artists who at that See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time had raised Florence to a See also:

• PITCH
• PITCH, MUSICAL

pitch of artistic celebrity far above all other cities of the See also:

• WORLD

world . At the time of his arrival the whole of artistic Italy was being excited to See also:

• ENTHUSIASM

enthusiasm by the cartoons of the See also:

• BATTLE

battle of Anghiari and the See also:

• WAR
• WAR (O. Eng. werre, Fr. guerre, of Teutonic origin; cf. O.H.G. werran, to confound)

war with See also:

• PISA
• PISA, COUNCIL OF (1409)

Pisa, on which Leonardo da See also:

• VINCI, LEONARDO (1690-173o)

Vinci and See also:

• MICHELANGELO (MICHELAGNIOLO BUONARROTI) (1475-1564)

Michelangelo were then devoting their utmost energies . To describe the various influences under which Raphael came, and the many See also:

• SOURCES

sources, from which be drank in stores of artistic knowledge, would be to give a See also:

• COMPLETE

complete history of Florentine art in the 15th See also:

• CENTURY (from Lat. centuria, a division of a hundred men)

century.' With astonishing rapidity he shook off the mannerisms of Perugino, and put one great artist after another under contribution for some See also:

• SPECIAL

special See also:

• POWER [WILLIAM GRATTAN] TYRONE (1797-1841)

power of drawing, beauty of See also:

• COLOUR (Lat. color, connected with celare, to hide, the root meaning, therefore, being that of a covering)

colour, or grace of composition in which each happened to excel . Nor was it from painters only that Raphael acquired his enlarged See also:

• FIELD (a word common to many West German languages, cf. Ger. Feld, Dutch veld, possibly cognate with O.E. f olde, the earth, and ultimately with root of the Gr. irAaror, broad)
• FIELD, CYRUS WEST (1819-1892)
• FIELD, DAVID DUDLEY (18o5-1894)
• FIELD, EUGENE (1850-1895)
• FIELD, FREDERICK (18o1—1885)
• FIELD, HENRY MARTYN (1822-1907)
• FIELD, JOHN (1782—1837)
• FIELD, MARSHALL (183 1906)
• FIELD, NATHAN (1587—1633)
• FIELD, STEPHEN JOHNSON (1816-1899)
• FIELD, WILLIAM VENTRIS FIELD, BARON (1813-1907)

field of knowledge and rapidly growing See also:

• POWERS, HIRAM (1805-1873)

powers . Sculptors like See also:

• GHIBERTI, LORENZO (137$–1455)

Ghiberti and See also:

• DONATELLO (diminutive of Donato) (c. 1386-1466)

Donatello must be numbered among those whose works helped to develop his new-born style.' The See also:

• CARMINE

Carmine frescoes of See also:

• MASACCIO (1402-1429)

Masaccio and Masolino taught this eager student long-remembered lessons of methods of dramatic expression.' Among his contemporaries it was especially See also:

• SIGNORELLI, LUCA (c. 1442-c. 1524)

Signorelli and Michelangelo who taught him the importance of precision of See also:

• LINE

line and the See also:

• NECESSITY (Lat. necessitas)

necessity of a thorough knowledge of the human See also:

• FORM (Lat. forma)

form.10 From da Vinci he learnt subtleties of modelling and soft beauty of expression," from Fra Bartolommeo See also:

• NOBILITY

nobility of composition and skilful treatment of drapery in dignified folds." The friendship between Raphael and the last of these was very See also:

• CLOSE
• CLOSE (from Lat. clausum, shut)
• CLOSE, MAXWELL HENRY (1822-1903)

close and lasted for many years . The architect See also:

• BACCIO

Baccio d'Agnolo was another of his special See also:

• FRIENDS, SOCIETY
• FRIENDS, SOCIETY OF

friends, at whose house the See also:

• YOUNG
• YOUNG, A
• YOUNG, ARTHUR (1741-1820)
• YOUNG, BRIGHAM (1801-1877)
• YOUNG, CHARLES MAYNE (1777–1856)
• YOUNG, EDWARD (1683–1765)
• YOUNG, JAMES (1811-1883)
• YOUNG, THOMAS (1773-1829)

young painter enjoyed social intercourse ' This letter, which still exists, was sold in Paris in 1856, and is now in private hands . ' See See also:

• MINGHETTI, MARCO (1818-1886)

Minghetti, " I Maestri di Raffaello," in the Nuova Antologia, 1st See also:

• AUGUST (originally Sextilis)

August 1881 . 8 See his sketch of St George and the See also:

• DRAGON (Fr. dragon, through Lat. draco, from the Greek; connected with SEpeoµay " see," and interpreted as " sharp-sighted "; O.H. Ger. tracho, dracho, M.H.G. trache, Mod. Ger. Drachen; A.S. draca, hence the equivalent English form " drake," " fire-drake,

Dragon, in the Uffizi, largely taken from Donatello's See also:

• PEDESTAL (Fr. piedestal, Ital. piedestallo, foot of a stall)

pedestal See also:

• RELIEF

relief outside Or See also:

• SAN

San Michele . See his See also:

• CARTOON (Ital. cartone, pasteboard)

cartoon of St See also:

• PAUL
• PAUL (PAULUS)

Paul See also:

• PREACHING (Fr. preecher, from Lat. praedicare, to proclaim)

preaching at See also:

• ATHENS
• ATHENS ['AN vat, Athenae, modem colloquial Greek `Ath va]

Athens (Victoria and See also:

• ALBERT
• ALBERT (1490'1545)
• ALBERT (149o-1568)
• ALBERT (1522–1557)
• ALBERT (FRANCIS CHARLES AUGUSTUS ALBERT EMMANUEL) (1819—1861)
• ALBERT (FRIEDRICH RUDOLF ALBRECHT)
• ALBERT, FREDERICK AUGUSTUS
• ALBERT, MADAME (c. 2805—2846)

Albert Museum) . 10 See many of his life-studies, especially the one he sent to Albert Darer, now at See also:

• VIENNA (Ger. Wien; Lat. Vindobona)
• VIENNA, CONGRESS OF (1814-1815)

Vienna . 11 See the portrait of Maddalena Doni in the Pitti . 12 See the Madonna del Baldacchino in the Pitti .

with a large circle of the chief artists of Florence, and probably See also:

• RECORD (Lat. recordari, to recall to mind, from cor, heart or mind)

record of his visit to See also:

• SIENA

Siena exists in a sketch of the See also:

• ANTIQUE (Lat. antiquus, old)

antique learned from him much that was afterwards useful in his practice as an architect . The transition in Raphael's style from his first or Perugian to his second or Florentine manner is well shown in the large picture of the Coronation of the Virgin painted for Maddalena degli Oddi, now in the Vatican, one of the most beautiful that he ever produced, and especially remarkable for its strong religious sentiment—in this respect a great contrast to the paintings of his last or See also:

• ROMAN

Roman manner which hang near it . The exquisite grace of the See also:

• ANGEL

angel musicians and the beauty of the faces show signs of his See also:

• SHORT, FRANCIS JOB (1857– )

short visit to Florence, while the See also:

• GENERAL
• GENERAL (Lat. generalis, of or relating to a genus, kind or class)

general formality of the composition and certain details, such as the fluttering ribands of the angels, recall peculiarities of Perugino and of See also:

• PINTURICCHIO (1454–1513)

Pinturicchio, with whose See also:

• FINE

fine picture of the same subject hung close by it is interesting to compare it . Raphael's paint- See also:

• ING

ing, though by far the more beautiful of the two, is yet inferior to that of Pinturicchio in the composition of the whole; an awkward See also:

• HORIZONTAL

horizontal line divides the upper See also:

• GROUP

group of the Coronation from that below, the apostles See also:

• STANDING

standing round the Vir- See also:

• GIN

gin's See also:

• TOMB (Gr. Tuµ/3a, Tuµ(3os, probably allied to Lat. tumulus, literally a swelling, tumere, to swell)

tomb, filled with See also:

• ROSES, WARS OF THE

roses and lilies (See also:

• DANTE

Dante, See also:

• PAR (Lat. par, equal)

Par. See also:

• XXIII

xxiii . 73), while the older Perugian has skil- fully See also:

• UNITED

united the two See also:

• GROUPS
• GROUPS, THEORY

groups by a less formal arrange- ment of the figures . The See also:

• PREDELLA

predella of this master- piece of Raphael is also in the Vatican; some of its small paintings, especially that of the figures in the Coronation of the Vir- gin, are interesting as g Illustratin Raphael's use of d in (Vatican) . In the Lille museum. showing his careful study See also:

• MODELS

models dun g his early period. raped of the rules of perspec- tive.' Several prepara- tory sketches for this picture exist: fig . 1 shows a study, now at Lille, for the two principal figures, Christ setting the See also:

• CROWN

crown on His mother's See also:

• HEAD (in 0. Eng. heafad; the word is common to Teutonic languages; cf. Dutch hoofd, Ger. Haupt, generally taken to be in origin connected with Lat. caput, Gr. KerbOvi7)
• HEAD, SIR EDMUND WALKER, BART
• HEAD, SIR FRANCIS BOND, BART

head (see fig . 2) . It is See also:

• DRAWN

drawn from two youths in the See also:

• ORDINARY (med. Lat. ordinarius, Fr. ordinaire)

ordinary See also:

• DRESS (from the Fr. dresser, to set out, arrange, formed from Lat. directus, arranged, dirigere, to direct, arrange)

dress of the time; and it is interesting to compare it with his later studies from the nude, many of which are for figures which in the future picture were to be draped . It was at Florence, as Vasari says, that Raphael began serious life studies, not only from nude models but also by making careful anatomical drawings from dissected corpses and from skeletons . His first visit to Florence lasted only a few months; in 1505 he was again in Perugia painting his first fresco, the Trinity and See also:

• SAINTS, BATTLE OF THE

Saints for the Camaldoli monks of San Severo, now a See also:

• MERE
• MERE, ADALBERT (1838-1909)

mere See also:

• WRECK

wreck from injury and restorations .

The date MDV and the See also:

• SIGNATURE (through Fr. from Lat. signature, signare, to sign, signum, mark, token, sign)

signature were added later, probably in 1521 . Part of this See also:

• WORK

work was left incomplete by the painter, and the fresco was finished in 1521 (after his death) by his old master Perugino.' It was probably earlier than this that Raphael visited Siena and assisted Pinturicchio with sketches for his See also:

• PICCOLOMINI
• PICCOLOMINI, OCTAVIO, PRINCE (1599-1656)

Piccolomini frescoes.' The Madonna of S . See also:

• ANTONIO
• ANTONIO (1429—1498)
• ANTONIO, NICOLAS (1617-1684)

Antonio was also finished in 1505, but was probably begun before the Florentine visit." A ' While at Florence he is said to have taught the See also:

• SCIENCE (Lat. scientia, from scire; to learn, know)

science of See also:

• PERSPECTIVE (Lat. peespicere, to see through)

perspective to his friend Fra Bartolommeo, who certainly gave his young instructor valuable lessons on composition in return . 2 The fresco of the Last Supper, dated 1505, in the See also:

• REFECTORY (med. Lat. refectorium, from reficere, to refresh)

refectory of S . Onofrio at Florence, is not now claimed as a work of Raphael's, in spite of a signature partly introduced by the restorer . ' Raphael probably had no hand in the actual execution of the paintings; see Schmarsow, Raphael and Pinturicchio in Siena (See also:

• STUTTGART

Stuttgart, 188o), and See also:

• MILANESI, GAETANO (1813-1895)

Milanesi, in his edition of Vasari, iii. p . 515 seq., appendix to life of Pinturicchio . ' This fine altar-piece, with many large figures, is now the property of the heirs of the duke of Ripalta, and is stored in the See also:

• BASEMENT

basement of the National Gallery, London . See also:

• MARBLE (from Lat. marmor, Gr. pApµapos, shining stone)

marble group of the Three See also:

• GRACES, THE, (Gr. X&panes, Lat. Gratiae)

Graces, then in the See also:

• CATHEDRAL

cathedral library, from which, not long afterwards, he painted the small panel of the same subject now in See also:

• LORD
• LORD (O. Eng. hldford, i.e. hldfweard, the warder or keeper of bread, hlIf, loaf; the word is not represented in any other Teutonic language)
• LORD, JOHN (1810-1894)

Lord Dudley's collection . In 15o6 Raphael was again in Urbino, where he painted for the duke another picture of St George, which was sent to See also:

• ENGLAND
• ENGLAND, THE CHURCH OF

England as a See also:

• PRESENT

present to See also:

• HENRY
• HENRY (1129-1195)
• HENRY (c. 1108-1139)
• HENRY (c. 1174–1216)
• HENRY (Fr. Henri; Span. Enrique; Ger. Heinrich; Mid. H. Ger. Heinrich and Heimrich; O.H.G. Haimi- or Heimirih, i.e. " prince, or chief of the house," from O.H.G. heim, the Eng. home, and rih, Goth. reiks; compare Lat. rex " king "—" rich," therefore " mig
• HENRY, EDWARD LAMSON (1841– )
• HENRY, JAMES (1798-1876)
• HENRY, JOSEPH (1797-1878)
• HENRY, MATTHEW (1662-1714)
• HENRY, PATRICK (1736–1799)
• HENRY, PRINCE OF BATTENBERG (1858-1896)
• HENRY, ROBERT (1718-1790)
• HENRY, VICTOR (1850– )
• HENRY, WILLIAM (1795-1836)

Henry VII . The See also:

• BEARER

bearer of this and other gifts was Guidobaldo's See also:

• AMBASSADOR (also EMBASSADOR, the form sometimes still used in America; from the Fr. ambassadeur, with which compare Ital. ambasciatore and Span. embajador, all variants of the Med. Lat. ambassiator, ambassiator, ambasator, &c., derived from Med. Lat. amba

ambassador, the accomplished Baldassare See also:

• CASTIGLIONE, BALDASSARE (1478–1529)
• CASTIGLIONE, CARLO OTTAVIO, COUNT (1784–1849)
• CASTIGLIONE, GIOVANNI BENEDETTO (1616–1670)

Castiglione (q.v.), a friend of Raphael, whose noble portrait of him is in the Louvre . At the court of Duke Guidobaldo the painter's ideas appear to have been led into a more See also:

• SECULAR (Lat. saecularis, of or belonging to an age or generation, saeculum)

secular direction, and to this stay in Urbino probably belong the Dudley Graces, the miniature " See also:

• KNIGHT, CHARLES (1791-1873)
• KNIGHT, DANIEL RIDGWAY (1845– )
• KNIGHT, JOHN BUXTON (1843–1908)

Knight's See also:

• DREAM (from a root dreug, connected with Germ. trugen, to deceive)

Dream of See also:

• DUTY (from " due," that which is owing, O. Fr. deu, dil, past participle of devoir; Lat. debere, debitum; cf. " debt ")

Duty and See also:

• PLEASURE (through Fr. plaisir from Lat. placere, to please; Gr. rlbovii)

Pleasure " in the National Gallery (London),' and also the " Apollo and Marsyas," sold in 1882 by See also:

• MORRIS
• MORRIS [MORRISON], CLARA (1849– )
• MORRIS, GOUVERNEUR (1752–1816)
• MORRIS, JOHN (1810-1886)
• MORRIS, RICHARD (1833–1894)
• MORRIS, ROBERT (1734–1806)
• MORRIS, SIR LEWIS (1833–1907)
• MORRIS, WILLIAM (1834-1896)

Morris See also:

• MOORE, A
• MOORE, ALBERT JOSEPH (1841–1893)
• MOORE, EDWARD (1712–1757)
• MOORE, GEORGE (1853– )
• MOORE, GEORGE FOOT (1851– )
• MOORE, HENRY (1831–1895)
• MOORE, JOHN (1729-1802)
• MOORE, SIR JOHN (1761-1809)
• MOORE, THOMAS (1779-1852)

Moore to the Louvre for £ro,000, a most lovely little panel, painted with almost Flemish minuteness, rich in colour, and graceful in arrangement .

Towards the end of 1506 Raphael returned to Florence, and there (before 1508) produced a large number of his finest works, carefully finished, and for the most part wholly the work of his own hand . Several of these are signed and dated, but the date is frequently very doubtful, owing to his See also:

• CUSTOM (from O. Fr. costume, costume or coustume; Low Lat. costuma, a shortened form of consuetudo)

custom of using Roman numerals, introduced among the sham Arabic embroidered on the borders of dresses, so that the I.'s after the V. are not always distinguishable from the straight lines of the See also:

• ORNAMENT (Lat. ornare, to adorn)

ornament . The following is a See also:

• LIST (O.E. lisle, a Teutonic word, cf. Dut. lust, Ger. Leiste, adapted in Ital. lista and Fr. lisle)
• LIST, FRIEDRICH (1789-1846)

list of some of his chief paintings of this period: the " Madonna del Gran Duca " (Pitti) ; " Madonna del Giardino," 1506 (Vienna); " See also:

• HOLY

Holy Family with the See also:

• LAMB (a word common to Teutonic languages; cf. Ger. Lamm)
• LAMB, CHARLES (1775–1834)

Lamb," r5o6 or 1507 (See also:

• MADRID

Madrid) ; the " Ansidei Madonna," 15o6 or 1507 (National Gallery); the See also:

• BORGHESE

Borghese "Entombment," 1507; Lord See also:

• COWPER, WILLIAM (1731-1800)
• COWPER, WILLIAM COWPER, 1ST EARL (c. 1665-1723)

Cowper's " Madonna " at Panshanger, 15o8; " La bella Giardiniera," ' This See also:

• MISSAL

missal-like painting is about 7 in. square; it was bought in 1847 for moo guineas . The National Gallery also possesses its cartoon, in See also:

• BROWN
• BROWN, CHARLES BROCKDEN (1771-181o)
• BROWN, FORD MADOX (1821-1893)
• BROWN, FRANCIS (1849- )
• BROWN, GEORGE (1818-188o)
• BROWN, HENRY KIRKE (1814-1886)
• BROWN, JACOB (1775–1828)
• BROWN, JOHN (1715–1766)
• BROWN, JOHN (1722-1787)
• BROWN, JOHN (1735–1788)
• BROWN, JOHN (1784–1858)
• BROWN, JOHN (1800-1859)
• BROWN, JOHN (1810—1882)
• BROWN, JOHN GEORGE (1831— )
• BROWN, ROBERT (1773-1858)
• BROWN, SAMUEL MORISON (1817—1856)
• BROWN, SIR GEORGE (1790-1865)
• BROWN, SIR JOHN (1816-1896)
• BROWN, SIR WILLIAM, BART
• BROWN, THOMAS (1663-1704)
• BROWN, THOMAS (1778-1820)
• BROWN, THOMAS EDWARD (1830-1897)
• BROWN, WILLIAM LAURENCE (1755–1830)

brown See also:

• INK (from Late Lat. encaustum, Gr. gysavorov, the purple ink used by Greek and Roman emperors, from iyKaiew, to burn in)

ink, pricked for transference . In spite of some adverse opinions, frequently expressed with extreme virulence, the genuineness of this little See also:

• GEM (Lat. gemma, a bud,—from the root gen, meaning " to produce,"—or precious stone; in the latter sense the Greek term is > d>os)
• GEM, ARTIFICIAL

gem can hardly be doubted by any one who carefully studies it without See also:

• BIAS
• BIAS (from the Fr. biais, of unknown origin; the derivation from Lat. bifax, two-faced, is wrong)

bias . Sketches for it at Venice and in the Uffizi also appear to See also:

• BEAR
• BEAR, BLACK
• BEAR, BROWN
• BEAR, GRIZZLY
• BEAR, ISABELLINE
• BEAR, WHITE

bear the impress of Raphael's manner . See Delaborde, Etudes sur les B . Arts . . en Italie, i. p . 236; Gruyer, Raphael et l'antiquite, ii. p . 421; Eitelberger, Rafael's Apollo and Marsyas (Vienna, 1860) ; Batte, Le Raphael de M . Moore (Paris, 1859) ; and also various See also:

• PAMPHLETS

pamphlets on it by its former owner, Mr .

Morris Moore . 1508 (Louvre); the " Eszterhazy Madonna," probably the same year; as well as the " Madonna del Cardellino " (Uffizi), the " Tempi Madonna " (See also:

• MUNICH (Ger. Munchen)

Munich), the " See also:

• COLONNA
• COLONNA, GIOVANNI PAOLO (circa 1637—1695)
• COLONNA, VITTORIA (1490-1547)

Colonna Madonna " (Berlin), the " See also:

• BRIDGEWATER, FRANCIS EGERTON, 3RP DUKE OF (1736-1803)
• BRIDGEWATER, FRANCIS HENRY EGERTON

Bridgewater Madonna " (Bridgewater House), and the " See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans Madonna " (duc d'See also:

• AUMALE
• AUMALE, HENRI EUGENE PHILIPPE LOUIS

Aumale's collection) . The " Ansidei Madonna " was bought in 1884 for the National Gallery from the duke of See also:

• MARLBOROUGH
• MARLBOROUGH, EARLS AND DUKES OF
• MARLBOROUGH, JOHN CHURCHILL, 1ST DUKE OF (1650-1722)

Marlborough for £70,000, more than three times the highest See also:

• PRICE
• PRICE, BARTHOLOMEW (1818–1898)
• PRICE, BONAMY (1807-1888)
• PRICE, RICHARD (1723-1791)

price ever before given for a picture.' It was painted for the Ansidei family of Perugia as an altar-piece in the church of S . Fiorenzo, and is a work of the highest beauty in colour, well preserved and very large in See also:

• SCALE
• SCALE (1) A

scale . The Virgin with veiled head is seated on a See also:

• THRONE

throne, supporting the See also:

• INFANT (in early forms enfaunt, enfant, through the Fr. enfant, from Lat. infans, in, not, and fans, the present participle of fari, to speak)

Infant with one hand and holding a book in the other . Below stands S . Niccolo da Tolentino, for whose altar it was painted; he holds a book and a See also:

• CROZIER
• CROZIER, WILLIAM (1855– )

crozier, and is clad in jewelled See also:

• MITRE (Lat. mitra, from Gr. j4rpa, a band, head-band, head-dress)

mitre and See also:

• GREEN, A
• GREEN, ALEXANDER HENRY (1832—1896)
• GREEN, DUFF (1791—1875)
• GREEN, JOHN RICHARD (1837—1883)
• GREEN, MATTHEW (1696-1737)
• GREEN, THOMAS HILL (1836-1882)
• GREEN, VALENTINE (1739–1813)
• GREEN, WILLIAM HENRY (.1825–1900)

green See also:

• COPE
• COPE (M.E. cape, cope, from Med. Lat. capa, cappa)
• COPE, EDWARD DRINKER (1840-1897)
• COPE, EDWARD MEREDITH (1818-1873)

cope, under which appear the See also:

• ALB (Lat. alba, from albus, white)

alb and See also:

• CASSOCK (Fr. casaque, a military cloak)

cassock . On the other side is the Baptist, in red See also:

• MANTLE

mantle and See also:

• CAMEL (from the Arabic Djemal or the Heb. Gamal)

camel's-See also:

• HAIR (a word common to Teutonic languages)

hair See also:

• TUNIC (0. Eng. tunice, tunical, taken, before the Norman con-quest, directly from Lat. tunica, of which the origin is unknown)

tunic, holding a crystal See also:

• CROSS

cross . The rich jewellery in this picture is painted with Flemish-like minuteness . On the border of the Virgin's robe is a date, formerly read as MDV by Passavant and others; it really is MDVI or MDVII . If the later date is the true one, the picture was probably begun a year or two before . A. favourite method of grouping his Holy Families is that seen in,the " Madonna del Cardellino " and the " Bella Giardiniera," in which the See also:

• MAIN (from the Aryan root which appears in " may " and " might," and Lat. magnus, great)
• MAIN (Lat. Moenus)

main lines form a See also:

• PYRAMID

pyramid .

This arrangement is also used in the " Madonna del Giardino " and in the larger group, including St See also:

• JOSEPH
• JOSEPH, COMTE DE (1785-1870)
• JOSEPH, FATHER (FRANCOIS LECLERC DU TREMBLAY) (1577-1638)

Joseph and St See also:

• ELIZABETH
• ELIZABETH (1533-1603)
• ELIZABETH (1596-1662)
• ELIZABETH (1635–1650)
• ELIZABETH [ AMELIE EUGENIE ] (1837—1898)
• ELIZABETH [1lisabeth Philippine Marie Helene of France] (1764—1794)
• ELIZABETH [PAULINE ELIZABETH OTTILIE LOUISE] (1843– )
• ELIZABETH [PETROVNA] (1709-1762), EMPRESS
• ELIZABETH, SAINT (1207-1231)

Elizabeth, known as the " Canigiani Holy Family, " now at Munich, one of the least graceful of all Raphael's compositions . The " Entombment of Christ," now in the Galleria Borghese in See also:

• ROME
• ROME (Roma)

Rome, was painted during a visit to Perugia in 1507 for See also:

• LADY (0. Eng. hlaefdige, Mid. Eng. ldfdi, lavedi; the first part of the word is hldf, loaf, bread, as in the corresponding hldford, lord; the second part is usually taken to be from the root dig-, to knead, seen also in " dough "; the sense development fr

Lady See also:

• ATALANTA

Atalanta Baglioni, in memory of the death of her brave and handsome but treacherous son Grifonetto, who was killed in 1500 by his enemies the Oddi party, ? The many studies and preliminary sketches' for this important picture which exist in various collections show that it cost Raphael an unusual amount of thought and labour in its composition, and yet it is quite one of his least successful paintings, especially in colour . It is, however, much injured by scraping and repainting, and appears not to be wholly by his hand . The " Madonna del Baldacchino," one of the finest compositions of the Florentine period, owing much to Fra Bartolommeo, is also unsatisfactory in execution; being left unfinished by Raphael, it was completed by Ridolfo See also:

• GHIRLANDAJO, DOMENICO (1449-1494)
• GHIRLANDAJO, RIDOLFO (1483-1560)

Ghirlandajo, by whom the ungraceful angels of the upper part and the See also:

• CANOPY (through Fr. canape, from Med. Lat. canapeum, classical conopeum, a mosquito curtain, Gr. K6v(.4, a gnat)

canopy were wholly executed, and even designed . It was painted for the Dei family as an altar-piece for their See also:

• CHAPEL

chapel in S . Spirito, Florence . The " St See also:

• CATHERINE
• CATHERINE, SAINT

Catherine " of the National Gallery was probably painted in 15o7; its cartoon, pricked for transference, is in the Louvre . In colouring it much resembles parts of the Borghese " Entombment," being quiet and See also:

• GREY, CHARLES GREY, 2ND EARL (1764-1845)
• GREY, HENRY GREY, 3RD EARL (1802-1894)
• GREY, LADY JANE (1537-1554)
• GREY, SIR EDWARD
• GREY, SIR GEORGE (1812–1898)

grey in See also:

• TONE, THEOBALD WOLFE (1763-1798)

tone . To the Florentine period belong some of his finest portraits, and it is especially in these that da Vinci's