Die frühe Arbeit von Raphael. und wunderbare Welt, und seine handrecorded unzählige Formen, die er noch nie in seinem Umbrische Tage dreamtof haben könnte. Er verweilte in der dim Kapelle des Carmineuntil Er kannte jede Abbildung in Masaccios Werke von Herz, er studiedGhirlandajos Köpfe und Donatellos Murmeln und machte eine sorgfältige drawingsof Michelangelos David, auf Blättern, die noch in der BritishMuseum gesehen werden. Aber es war Lionardo über alle anderen, zog ihn vonder Wissenschaft und Schönheit seiner Kunst. Er stumm stand, Vasari erzählt uns, bevor die Gnade seiner Figuren, und fand ihn besser als alle o

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The early work of Raphael . and wonderful world, and his handrecorded countless forms and shapes which he could never have dreamtof in his Umbrian days. He lingered in the dim chapel of the Carmineuntil he knew every figure in Masaccios works by heart, he studiedGhirlandajos heads and Donatellos marbles, and made careful drawingsof Michelangelos David on sheets which may still be seen in the BritishMuseum. But it was Lionardo above all others who attracted him bythe science and beauty of his art. He stood dumb, Vasari tells us, before the grace of his figures, and thought him superior to all othermasters. In fact, the style of Lionardo pleased him better than anywhich he had ever seen, and, leaving the manner of Pietro, he en-deavoured with infinite pains to imitate the art of Lionardo. Fromhaving been a master, he once more became a pupil. At the same THE EARLY WORK OF RAPHAEL 43 time, Michelangelos mastery of the human frame made a profoundimpression upon his mind, and he applied Jiimself with ardour to learn. Group in the Venice Sketch-book, from Lionardos Battle of the Standard. By Raphael. the principles of anatomy. Night and day he devoted himself to thetask, and studied the structure of the body, the movement and fore- 44 THE EARLY WORK OF RAPHAEL shortening of limbs, and connection of nerves and muscles, withsuch unwearied industry, that in a few months he learnt what othersacquire in the space of years. The letter of La Prefetessa does not seem to have brought him anycommission from the Gonfaloniere, who had already the two greatestliving painters in his service, and many other excellent artists awaitinghis commands. But the recommendations of his Urbino friends and theinfluence of his master Perugino—above all, his own charming nature, brought him many friends, and made him a general favourite in artisticcircles. He was a frequent visitor at the shop of the distinguishedarchitect Baccio dAgnolo, where artists of every age and rank met onwinter evenings t

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• bookcentury1800
• booksubjectraphael14831520
• bookyear1895