RAEBURN, HENRY. 



RAFPAELLE, SANZIO. 



the movement was all but brought to a crisis, when Austria claimed 

 and enforced the right to place a garrison ia Ferrara. Immediately a 

 Civic or National Guard was constituted in every Italian state. Then 

 came the revolution in Paris, in February 1848, followed by similar 

 movements in Vienna and Berlin, which raised the spirit of insurrec- 

 tion to its height. 



On the 18th of March 1848, barricades were erected in every street 

 in Milan; the fighting lasted for three days; after which Marshal 

 Radetzky drew his troops out of that city, and retreated to Verona. 

 The Austrian army, at that time in Italy, amounted to nearly 75,000 

 men; but it was scattered over an extensive line of operations. Con- 

 sequently the insurgents were at first triumphant ; the tricolor flag 

 appeared upon all the towers of Italy, except those of Verona, Mantua, 

 Legnano, and Pescbiera; and Charles Albert, king of Sardinia, having 

 united himself to the league, a most gallant contest was maintained 

 for five months. More than once the veteran marshal had to quit the 

 field ; but every time he retired in good order. At other times 

 victory was on his side. At length, on August 4, 1848, Radetzky, 

 after a series of successful attacks on the Italian posts, advanced 

 against Milan, at the head of the Austrian army ; the Milanese lost 

 heart, and deaf to the remonstrances of Charles Albert, urging them 

 to defend the city, they held a council of war, and determined to 

 abandon Milan. A deputation was sent to Marshal Radetzky, and the 

 terms obtained were : !' that the Piedmontese army was to be with- 

 drawn in two days from the Lombard territory ; that the Austriaus were 

 to cuter Milan on the 6th of August ; and that the lives and property 

 of the people were to be respected." The struggle was now virtually 

 at an end. Radetzky' s superior strategy, and the disunion of his 

 opponents rendered it an easy task for him to break up the Sardinian 

 forces, and he was again master of all Lombardy. The Emperor of 

 Austria in return for his services sent him an autograph letter of 

 thanks, accompanied by the first class order of St. George. In March 

 1849, the rebellion in Hungary incited the Italians to make a new 

 attempt to establish their independence; but it was rendered abortive 

 by the prompt and energetic measures of the marshal. Since then, 

 full of years, and loaded with honours by his sovereign, he several 

 times applied hi vain for leave to resign his command. Nor was it 

 until the opening of 1857, that he obtained this permission, in a 

 courteous letter from the emperor, after a prolonged service of 

 seventy -three years in the Austrian armies. 



Marshal Radetzky married in 1798 the Countess Frances Strassoldo- 

 Grii fon berg, by whom he has a son and daughter living. 



RAEBURN, HENRY, the son of a manufacturer at Stockbridge, 

 near Edinburgh (which now forms part of that city), was born there 

 ou the 4th of March 1756. He lost both his father and mother whilst 

 young, and was apprenticed by his elder brother to the business of a 

 goldsmith. During the time of his apprenticeship he painted minia- 

 tures, which were executed in such a manner as to attract notice, and 

 EOOU came to be in general demand. As he was able to complete two 

 of these in a week, his master readily agreed to allow him to withdraw 

 from the trade, receiving as an equivalent part of the young pafnter's 

 earnings. 



Obtaining some of David Martin's pictures to copy, he adopted 

 oil-painting, and after a time wholly abandoned miniatures. At the 

 expiration of his apprenticeship he became a portrait-painter, and 

 gained very extensive practice. * In 1779 he married, and some time 

 after came to London, where he was much noticed by Sir Joshua 

 Reynolds, by whose advice he went to Italy, where he remained two 

 years, carefully studying the works of the great masters. In 1787 he 

 returned and established himself in Edinburgh, where in a short time 

 he became the chief portrait-painter. He was elected a member of the 

 Royal Society of that city, of the Imperial Academy of Florence, and 

 of the South Carolina and New York academies. In 1812 he was 

 elected an associate and in 1815 a member of the Royal Academy, 

 London. On the visit of George IV. to Scotland in 1822, Raeburn 

 was knighted at Hopetown House, and in the summer of the following 

 year he was appointed portrait-painter to the king for Scotland, an 

 honour which he did cot long enjoy. He died on the 8th of July 

 1823. 



Amongst hia chief portraits may be enumerated those of Lord 

 Eldon, Sir Walter Scott, Dugald Stewart, Professor Playfair, Jamea 

 Watt, Francis Jeffrey, Henry Mackenzie, John Rennio, and Sir Francis 

 Chantrey. Hia style was freo and bold, his drawing correct, his 

 colouring rich, deep, and harmonious; and the accessories, whether 

 drapery, furniture, or landscape, appropriate, and though carefully 

 executed, always kept duly subordinate. He had a peculiar power of 

 rendering the head of his figure bold, prominent, and imposing. The 

 strict fidelity of his representations may in a great degree be attributed 

 to his invariable custom of painting, whether the principal figure or 

 the minutest accessory, from the person or the thing itself, never giving 

 a single touch from memory or conjecture. The portraits of Sir Henry 

 Raeburn, with some deficiencies, possess a freedom, a vigour, and a 

 spirit of effect, and convey an impression of grace, life, and reality 

 'which may be looked for in vain amidst thousands of pictures, both 

 ancient and modern, of moro elaborate execution and of minuter 

 finislu 



RAFFAELLE, RAFAEL, RAFFAELLO, or RAPHAEL, SANZIO, 

 was born at Urtino, on the Cth of April 1483, and not on Good Friday 



(March 28) of that year, as Vasari erroneously fancied. He was the 

 son of Giovanni de' Santi, a painter of merit in that city, some of 

 whose works still exist; a specimen of them may be seen in the Berlin 

 Gallery (No. 215, first division), bearing the name of Giovanni, and 

 showing considerable beauty, but with weak colouring. Although 

 Raffaelle lost his parents before he was twelve years old, he imbibed 

 the rudiments of art from his father. Other artists of that peculiar 

 school which fixed itself in Umbria, such as Nicolo Aluuuo of Foligno, 

 and Andrea Luigi of Assisi, probably exercised Borne influence over the 

 young painter. At what age he became the pupil of Perugino we 

 know not, but traces of the scholar's hand are supposed to be visible 

 in several of the works of the master ; among others in the frescoes of 

 the Cambio at Perugia, which were paiuted about the year 1500. 



The career of Raffaelle is usually divided into three periods, of 

 which the first terminates with his visit to Florence, in the autumn of 

 1504 ; the second comprises the time from that date until he was 

 invited to Rome by Julius II., about the middle of 1508; and the 

 third extends to his death, in 1520. 



1. To begin with the works executed before Raffaelle's visit to 

 Florence. One of the earliest of these now extant is probably the 

 ' Virgin with the Book,' in the Berlin Gallery (No. 223, first division), 

 and a still more important picture of this period is the ' Adoration of 

 the Magi,' in the same collection (223 a). The latter is executed on 

 linen, in size colours (' al guazzo '), aud was originally intended for 

 the high altar at Ferentillo ; it was purchased by the late king of 

 Prussia from the Ancajani family at Spoleto, for the sum of 6000 

 scudi, and has suffered a good deal from the peeling of some of the 

 colours. 



The pictures painted at Citta di Castello were, the ' Coronation of 

 St. Nicholas of Tolentino ' (said to have disappeared from the Vatican 

 during the French occupation) ; the ' Sposalizio, or Marriage of the 

 Virgin ' (now in the Brera at Milan), and the ' Christ on the Cross,' in 

 the collection of Cardinal Fesch. Lanzi, on the authority of mere 

 tradition, states that the first of these three was paiuted when 

 Raffaelle was only seventeen, that is, in 1500 ; andle assigns the last 

 to about the same time : both probably approach very nearly in time 

 to the 'Sposalizio,' which bears the date of 1504. The ' Coronation of 

 the Virgin ' (now in the Vatican) clearly shows the struggle of new 

 principles, although Vasari, whose contempt for the simplicity of the 

 earlier style led him to content himself with very general resem- 

 blances, refers to this picture as one of those which prove how closely 

 Raffaelle imitated the manner of Perugiuo. Notwithstanding Vasari's 

 assertion to the contrary, it seems probable that both the ' Coronation 

 of the Virgin ' and the ' Crucifixion ' belonging to Cardinal Fesch were 

 posterior to the ' Sposalizio.' 



Raffaelle's share in the frescoes executed by Piuturicchio, in the 

 Libreria of the Cathedral at Siena, has been much exaggerated. 

 There is little doubt that he never worked there in person, although 

 he furnished some drawings to his fellow-pupil ; two of these are yet 

 extant, one in the Florence Gallery, aud the other in the Baldeschi 

 collection at Perugia. Vasari's whole account of Raffaelle's first visit 

 to Florence is confused in the highest degree. He describes him as 

 induced to quit Siena by the report of Leonardo's ' Battle of the 

 Standard ' and of M. Angelo's Cartoon, although the latter work was 

 not exhibited till 1506, while the frescoes of Pinturicchio were pro- 

 bably completed in 1503, and the date of Raffaelle's journey is fixed 

 to October 1504, by the letter of recommendation for the Gonfaloiiiere 

 Soderini from the Duchess of Sora. Quatreniere de Quincy tries to 

 solve the difficulty by assuming a visit to Florence iu 1503, and 

 another in the following year, but a strong presumption against this 

 supposition is furnished by the total absence of all trace of Florentine 

 principles in the ' Marriage of the Virgin.' Susceptible of new impres- 

 sions in art as Raffaelle afterwards showed himself, it is impossible 

 that the first introduction to his great Florentine contemporaries 

 should have left no trace iu his works. Now the pictures of 1505 

 exhibit clear traces of a new influence. In fact, at the time of his 

 arrival at Florence, art had just reached the point which enabled him 

 to reap the fullest benefit from the new field thus thrown open. He 

 studied the works of Masaccio, and became the friend of Fra Barto- 

 lomeo and Ridolfo Ghirlandaio. In the following year we find him 

 employed again ut Perugia. The fresco in San Severe, and the altar- 

 piece for the Ausidei family (now at Blenheim) were paiuted in 1505. 

 Whether the picture executed for the nuns of St. Antonio of Padua 

 at Perugia, which is at Naples, be of the same or of a later date, is a 

 disputed point. 



Four pictures of the ' Virgin and Child ' of Raffaelle's Florentine 

 period are distinguished by different characters, though all exquisitely 

 beautiful. The ' Madonna del Gran Duca,' in the Pitti Palace, is the 

 most simple, and, to our judgment, the most admirable of them all. 

 It still breathes much of the spirit of the Umbrian school. The 

 other three are the ' Madonna Tempi ' at Munich, the ' Colonna 

 Madonna ' at Berlin, and the picture iu the possession of Lord Cowper 

 at Panshanger. To the same time must be attributed the ' Madonna 

 delCardellino,' hi the tribune at Florence, the 'Belle Jardiniere" at 

 Paris, and the ' Holy Family,' with the Palm, in the Bridgewater 

 collection. The first of theso throe was painted for Lorenzo Nasi. 

 Raffaelle's power and fidelity as a portrait-painter are well shown in 

 the beautiful portraits of Angclo and Maddalena Doni, in the Pitti 



