Die frühe Arbeit von Raphael. ew thesemasterly Gruppen von Soldaten und Reiter kämpfen für die Flagge, fromLionardos Kampf der Standard, der in der VeniceSketch erhalten sind. Aber die Fresken der Großen Halle nie gemalt wurden, forMichelangelo hatte nach Rom gerufen worden, und Lionardo hatte die Arbeit im Ekel thrownup, nach dem Lackieren einer einzigen Gruppe und um auf ihren Mauern, und wurde nach Mailand gegangen. Perugino hatte auch Florenz, wo hisart war nicht mehr so populär wie in vergangenen Tagen, und bald afterwardswent nach Rom. Aber Fra Bartolommeo blieb hisfriend zum Willkommen zurück, und mit ihm Raphael gelebt

• Bildanbieter: The Reading Room / Alamy Stock Foto
• Bild-ID: 2ANF7KR
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• Format: 1342 x 1861 px | 22,7 x 31,5 cm | 8,9 x 12,4 inches | 150dpi

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The early work of Raphael . ew thesemasterly groups of soldiers and horsemen fighting for the flag, fromLionardos Battle of the Standard, which are preserved in the VeniceSketch-book. But the frescoes of the Great Hall were never painted, forMichelangelo had been summoned to Rome, and Lionardo had thrownup the work in disgust, after painting a single group upon the walls, and was gone to Milan. Perugino had also left Florence, where hisart was no longer as popular as in past days, and soon afterwardswent to Rome. But Fra Bartolommeo remained to welcome hisfriend back, and with him Raphael lived during the next two years, on terms of the closest intimacy. The Dominican painters influence isstrongly marked in the pyramidal arrangement and colouring of thegroup of Madonnas which Raphael painted immediately after his returnto Florence in 1506. Foremost among these was the Madonna delPrato, which he painted for Taddeo Taddei, and which was sold by hisfriends descendants to the Archduke Ferdinand of Austria, after whose. The Madonna-del Cardellino. By Raphael. Pitti Gallery, Florence.From a photograph by Alinari, by permission. 64 THE EARLY WORK OF RAPHAEL death it passed, with the rest of the Schloss Ambras Collection, into theBelvedere Gallery at Vienna. The Virgin, seated on a stone bench in aflowery meadow, looks down with the sweetest of smiles on the childstanding on the grass at her feet, and gently guides his steps, as hereceives a cross of reeds from the hands of the kneeling St. John. Thesame grouping is repeated in the Madonna del Cardellino, which Raphaelpainted in the same year as a wedding present for Lorenzo Nasi, whohad doubtless seen and admired Taddeos picture. Only here the actionof the children is more playful, and instead of the cross, the boy Baptistplaces a goldfinch in the hands of his companion, while the Virgin turnsfrom the book that lies open before her, to watch their happy faces.Unfortunately this picture, which Lorenzo Nasi treasured both onac

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• bookcentury1800
• booksubjectraphael14831520
• bookyear1895