He had few companions besides his father and mother. He played much in his father’s studio, and like Angelo learned in babyhood to use the tools of art which later would bring him renown.
In 1494, while the boy was still young, his second misfortune came. His father died. Raphael was left under the guardianship of his stepmother and his father’s brother, a priest.
For a time nothing was done toward his further education. But an uncle who seemed to realize that the lad had unusual genius for painting at last gained permission to send him away to a master. He was placed under the instruction of Perugino, who, it is said, remarked, “Let him be my pupil; he will soon be my master.”
Raphael remained in the studio of Perugino at Perugia nearly nine years. Other students were with him who afterwards became great artists.
A master like Perugino would often receive many orders for pictures or frescoes which he could not execute alone. So the less important work would be left to students. This not only aided the artist, but it made it possible for students to show their power. If a young man had unusual talent, he was sure to seize this opportunity to show his ability and attract the master’s attention. Raphael’s earliest work was done to assist Perugino.
After the death of Perugino, Raphael returned for a time to Urbino. Here he painted for the reigning duke St. George slaying the Dragon and St. Michael attacking Satan. Both of these pictures are now in the Louvre gallery at Paris.
But Raphael wanted especially to see the pictures of Angelo and Leonardo, whose fame had spread to the most remote valleys of the rugged Apennines. So with a letter of introduction to the ruler of Florence, Raphael in 1504 started upon his travels. His letter, he knew, would insure him a welcome in Florence at least.
As he walked through the streets of this beautiful city he felt like a fairy prince in a land of magic. Now he stood beneath the bell tower which Giotto had designed, now he passed the wonderful bronze gates which Ghiberti had cast, and now he studied the pictures of Leonardo or Angelo which were in all the brilliancy of fresh color.
New ideas crowded upon him, new inspiration roused him. He was sure he could do more, much more, than he had ever dreamed of doing before. Eagerly he began to paint, and within a few months three Madonnas were marked with his name. A fresco painting of the Last Supper, which was probably executed by him this same year, was discovered on the wall of a convent dining room in 1845.