PAINTING. 83 
painted by himself (pl. 17, fig. 3), is in the Uffizi in Florence. Three 
successive manners have been pointed out in Raphael’s pictures: one 
rather stiff and meagre, and dry in its coloring, which he derived from 
\ 
Perugino; another freer and formed on the study of the antique, in which 
blooming colors, graceful forms, and tastefully arranged draperies predomi- 
nate; and the last a grandiose style, in which the form prevailed more and 
more over the “ motivo,” and the feeling for ideal beauty became the 
measure of its characteristics. In the technical part of his art he may be 
said to have been perfect, especially during the latter part of his career. 
The most distinguished among Raphael’s pupils is Giulio Pippi, called 
Giulio Romano (born 1492, died 1546), to whom he left a third of his 
estate. Giulio worked constantly under Raphael’s eye, and hence it was 
not till his master’s death that he assumed a manner of his own. His fiery 
imagination led him not unfrequently into exaggeration; and thus he 
formed a style of painting strongly tinctured with mannerism, which found 
but too many adherents. As a proof of the quaintness and affectation that 
pervaded Giulio Romano’s works, we copy his picture of Venus and Vulcan 
arming Cupid (pl. 16, fig. 6). In Rome he painted the grand hall of 
Constantine, and then entered the service of the Marchesa Gonzaga in 
Mantua. Here he built the Palazzo del Te, which he also, with the assist- 
ance of his pupils, beautifully decorated. Among his paintings his Fall 
of the Giants is particularly celebrated for its original composition and the 
boldness displayed in the postures of the naked body. His co-heir and 
fellow-pupil was Gianfrancesco Penni (called 2/ Fattore, born 1488, died 
1528), who had been with Raphael from his boyhood. His style was a 
mixture of that of Raphael and of Michael Angelo. Giovanni Nanni 
(da Udine, born 1494, died 1564) distinguished himself by the arabesques 
painted by him in the loggie of the Vatican after those found in the Baths 
of Titus. Pietro Buonacorsi (Perino del Vaga, b. 1500, d. 1547) also 
worked on these arabesques; he likewise painted a great deal after 
Raphael’s sketches and designs, and his coloring is admirable. 
In the death of Leo X. painting at Rome received a severe blow; for 
Hadrian VI. was an enemy to the fine arts, and immediately put a stop to 
all the works in the Vatican. This occasioned the dispersion of Raphael’s 
school; but they were at length employed again to some extent under 
Clemens VII., on the occasion of decorating the Villa Madama. It was 
about this time that Michael Angelo, in Florence, who as early as 1503 
had developed a style in which he alone could attain perfection, and in 
which beauty, grace, coloring, and chiaroscuro were sacrificed to anatomy 
and to the perspective foreshortening of the figures, came to Rome. As 
long as Raphael lived, this style, which must have excited more asto- 
nishment than admiration, found little acceptance in Rome; and even during 
the life of Clement, it provoked attacks which were extended to the master 
himself. The work in which Michael Angelo’s peculiarities made them- 
selves most conspicuous, and which gave the most violent blow to correct 
taste, was the Last Judgment, completed under Paul III.: it produced 
such a revolution in the Roman school, that all became little more than 
467 
