The century of Columbus

by James J. Walsh

His decorations of the Camera de la Segnatura are probably among the greatest contributions to decorative art ever made. They are certainly among the most interesting. Only Michelangelo's wonderful decorations in the Sistine Chapel rival them and there are some critics who would concede the palm to Raphael. Here we have the index not only of his power to paint marvellously but also of his intellectual genius and his judgment of values in the history of literature and philosophy. Such pictures as the "Disputa" and the "School of Athens" are real contributions to the history of human thought. Only a man who was himself of profound intellectuality on a plane of equality with the great intellectual geniuses whom he was painting could have conceived and completed these magnificent groups of the world's greatest men successfully. It has been well said that to appreciate properly the pictures of the Segnatura is of itself an education. To be able to take them in their full significance as essays in art and in the history of literature and philosophy is to have gone far on the road to culture. Raphael's achievement here is that of a great mind gifted with a wonderful power of comprehension as well as an almost unrivalled faculty of expression. No decorative pictures of the modern time, however great, can be placed beside them.

It has often been a source of wonder how Raphael was able to paint so appropriately the figures of Plato, Socrates, Aristotle and others in his great picture of the "School of Athens." Only the genius that gives men intuition, that enabled Shakespeare to portray wonderfully the character of the men of all times and the blind Homer to give us an enduring picture of man could have enabled him to do it. It was the time of the New Learning and the recently aroused interest in the classics, but no mere accumulation of information would ever have made him capable of such a representation. As Gladstone once said of Homer, a whole encyclopaedia of information with regard to the Greeks of Homer's time would not have told us as much about them as Homer has given us. At the time when he did the painting Raphael was not much more than thirty and his life had been occupied with painting and not with the accumulation of erudition. Henry Strachey in [{9}] his sketch of Raphael calls attention to the fact that none of the great contemporary Italian humanists were in Rome at this time. Neither Bembo nor Bibbiena nor Castiglione were where they might be readily consulted, and it was only Raphael's genius insight that enabled him to accomplish so wonderfully the task he had been set. For while the subjects were probably chosen for him he had to work out the details for himself, and indeed these wonderful compositions show this very clearly.

Raphael, School of Athens

Raphael revealed for us in the "Camera della Segnatura," as almost no one else has done, the attitude of mind of his period with regard to the meaning of life. Years of scholarly devotion to the study of pagan antiquity and especially the great Greek philosophers and poets, as well as the remains of its sculpture, had awakened in men's minds a broader view of life and its significance than had been possible for centuries. Raphael has summed this up in the wonderful documents that he has left in the Vatican and put on canvas what the great scholars of the time tried to express in words. The late Professor Kraus of Munich in his chapter on Medicean Rome in the second volume of the Cambridge modern History has told the story of this:

"The four pictures of the camera represent the aspirations of the soul of man in each of its faculties; the striving of all humanity towards God by means of aesthetic perception (Parnassus), the explanation of reason in philosophical inquiry and all scientific research (the School of Athens), order in Church and State (Gift of Ecclesiastical and Secular Laws) and finally Theology. The whole may be summed up as a pictorial representation of Pico della Mirandola's celebrated phrase, philosophia veritatem quaerit, theologia invenit, religio possidet; and it corresponds with what Marsilio says in his Academy of Noble Minds when he characterized our life's work as an ascent to the angels and to God."

Artists and poets and writers have vied with each other in saying strong words of high praise with regard to these decorations. The Blashfields in their "Italian Cities" have told the story of the limitations under which he worked, those of the room, lighted from two sides with two walls pierced by [{10}] windows, and then the fact that to a great extent probably his subjects were dictated, yet he must needs body them forth in concrete form and clearly. How well the young artist not only overcame these difficulties but out of the very difficulties created the most marvellous portions of his masterpieces the Blashfields have also told.

In one paragraph they have detailed the story of Raphael's associations with the artists of Rome at that period. Because it gives some idea of the wealth of artistic genius existent in this time it concerns us deeply here. They say: "The Urbinate (Raphael) strong as he was, had felt the need of strengthening himself still further by acquiring the friendship of other artists, and creating a kind of little court. We are told that almost nightly at his table there met, Luca Signorelli, Pietro Perugino, Baldassare Peruzzi, Giovanantonio Bazzi and Lorenzo Lotto. What an age! when a single supper party could furnish such an assemblage of world-famous artists, who in turn, as they went from their quarters in the Borgo Vecchio, might meet Michelangelo returning from the Vatican with the contingent of Florentines, Bugiardini, Granacci, Aristotile da Sangallo, and l'Indaco, who were helping him in the Sistine Chapel."

So much has been said of the Camera della Segnatura that it is sometimes forgotten that there are other rooms at the Vatican decorated by Raphael, only less wonderful than this. If they existed anywhere else they would be prized very highly, and if they were by any other artist would place him among the great artists of all time. The Camera del Incendio, so called because of the representation of "The Fire in the Borgo," has in this scene one of the most dramatic pictures ever painted. There are other great dramatic subjects finely treated here, as "The Oath of Leo III" and the "Coronation of Charlemagne." In this work Raphael was probably assisted to a noteworthy extent by pupils and associates, yet all of it is stamped with his genius. There are in the Camera del Eliodoro such pictures as "Jacob's Dream," the "Sacrifice of Isaac" and the "Burning Bush," which show Raphael's wonderful power of composition and at the same time the readiness of genius which enabled him to turn from one subject to another, accomplishing [{11}] so much that one is astounded to think of how ideas must have crowded on him and yet how well all is done considering that the artist so often needs above all the element of time to perfect his work. Had Raphael been spared to the ordinary length of life or to such years as Michelangelo's four score and ten or Titian's almost five score, what an abundance of his art there would be in the world.

One of Raphael's greatest works at Rome is comparatively little appreciated except by those whose attention has been particularly called to it. This was his making of the cartoons for the series of tapestries to be hung in the Sistine Chapel. These tapestries were to be manufactured in the Low Countries, but the Pope wanted the subjects that were to be represented to come from Raphael. Raphael consented to make the cartoons for them, though he knew that they would be cut into rolls some two inches wide to be handed over to the weavers. He had no idea that they would ever be exhibited except in the imperfect way in which tapestry can represent painting. Most artists of high rank would probably refuse such a commission. Certainly it seemed rather derogatory to his dignity as an artist to think that he should furnish only copies that were themselves to have no place among his collected works and prove at most a dubious addition to his fame. Under these circumstances it would not have been surprising if the composition and the manner of execution of the cartoons had been far below that of his works in painting and fresco.