Editing Raphael (section)

==Roman period==
===Vatican "Stanze"===
In 1508, Raphael moved to Rome, where he resided for the rest of his life. He was invited by the new pope, [[Julius&nbsp;II]], perhaps at the suggestion of his architect [[Donato Bramante]], then engaged on [[St. Peter's Basilica]], who came from just outside Urbino and was distantly related to Raphael.<ref>Jones & Penny:49, differing somewhat from Gould:208 on the timing of his arrival</ref> Unlike Michelangelo, who had been kept lingering in Rome for several months after his first summons,<ref>Vasari:247</ref> Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the [[Vatican Palace]].<ref>Julius was no great reader—an inventory compiled after his death has a total of 220 books, large for the time, but hardly requiring such a receptacle. There was no room for bookcases on the walls, which were in cases in the middle of the floor, destroyed in the 1527 Sack of Rome. Jones & Penny:4952</ref> This was a much larger and more important commission than any he had received before; he had only painted one altarpiece in Florence itself. Several other artists and their teams of assistants were already at work on different rooms, many painting over recently completed paintings commissioned by Julius's loathed predecessor, [[Pope Alexander VI|Alexander VI]], whose contributions, and [[coat of arms|arms]], Julius was determined to efface from the palace.<ref>Jones & Penny:49</ref> Michelangelo, meanwhile, had been commissioned to paint the [[Sistine Chapel ceiling]].<ref>{{cite book |last1=Graham-Dixon |first1=Andrew |author1-link=Andrew Graham-Dixon |title=Michelangelo and the Sistine Chapel |date=2008 |publisher=Weidenfeld & Nicolson |location=London |isbn=9781602393684 |url=https://books.google.com/books?id=d1Rh-q0jsN0C |access-date=January 10, 2021}}</ref>
[[File:4 Estancia del Sello (El Parnaso).jpg|thumb|left|''[[The Parnassus]]'', 1511, [[Stanza della Segnatura]]]]
This first of the famous "Stanze" or "[[Raphael Rooms]]" to be painted, now known as the ''[[Stanza della Segnatura]]'' after its use in Vasari's time, was to make a stunning impact on Roman art, and remains generally regarded as his greatest masterpiece, containing ''[[The School of Athens]]'', ''[[The Parnassus]]'' and the ''[[Disputation of the Holy Sacrament|Disputa]]''. Raphael was then given further rooms to paint, displacing other artists including Perugino and Signorelli. He completed a sequence of three rooms, each with paintings on each wall and often the ceilings too, increasingly leaving the work of painting from his detailed drawings to the large and skilled workshop team he had acquired, who added a fourth room, probably only including some elements designed by Raphael, after his early death in 1520. The death of Julius in 1513 did not interrupt the work at all, as he was succeeded by Raphael's last pope, the [[Medici]] [[Pope Leo X]], with whom Raphael formed an even closer relationship, and who continued to commission him.<ref>Jones & Penny:49–128</ref> Raphael's friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor.

In the course of painting the room, Raphael was clearly influenced by Michelangelo's Sistine Chapel ceiling. Vasari said Bramante let him into the chapel secretly. Raphael completed the first section of his work in 1511 and the reaction of other artists to the daunting force of Michelangelo was the dominating question in Italian art for the following few decades. Raphael, who had already shown his gift for absorbing influences into his own personal style, rose to the challenge perhaps better than any other artist. One of the first and clearest instances was the portrait in ''The School of Athens'' of Michelangelo himself, as [[Heraclitus]], which seems to draw clearly from the Sybils and ''ignudi'' of the Sistine ceiling. Other figures in that and later paintings in the room show the same influences, but as still cohesive with a development of Raphael's own style.<ref>Jones & Penny:101–05</ref> Michelangelo accused Raphael of plagiarism and years after Raphael's death, complained in a letter that "everything he knew about art he got from me", although other quotations show more generous reactions.<ref>Blunt:76, Jones & Penny:103–05</ref>

These very large and complex compositions have been regarded ever since as among the supreme works of the [[grand manner]] of the High [[The Renaissance|Renaissance]], and the "classic art" of the post-antique West. They give a highly [[idealism|idealised]] depiction of the forms represented, and the compositions, though very carefully conceived in [[drawing]]s, achieve "sprezzatura", a term invented by his friend Castiglione, who defined it as "a certain nonchalance which conceals all artistry and makes whatever one says or does seem uncontrived and effortless ...".<ref>Book of the Courtier 1:26 [http://www.idehist.uu.se/distans/ilmh/Ren/sprezzatura-castiglione.htm The whole passage] {{webarchive|url=https://web.archive.org/web/20071224192937/http://www.idehist.uu.se/distans/ilmh/Ren/sprezzatura-castiglione.htm |date=December 24, 2007 }}</ref> According to [[Michael Levey]], "Raphael gives his [figures] a superhuman clarity and grace in a universe of Euclidian certainties".<ref>[[Michael Levey|Levey, Michael]]; ''Early Renaissance'', p. 197 ,1967, Penguin</ref> The painting is nearly all of the highest quality in the first two rooms, but the later compositions in the Stanze, especially those involving dramatic action, are not entirely as successful either in conception or their execution by the workshop.<ref>Ettlinger & Ettlinger: 177–180</ref>

<gallery widths="200px" heights="200px" perrow="4">
File:Raffael Stanza della Segnatura.jpg|[[Stanza della Segnatura]]
File:Raphael - The Mass at Bolsena.jpg|''[[The Mass at Bolsena]]'', 1514, Stanza di Eliodoro
File:Raphael - Deliverance of Saint Peter.jpg|''[[Liberation of Saint Peter (Raphael)|Liberation of Saint Peter]]'', 1514, Stanza di Eliodoro
File:Raphael - Fire in the Borgo.jpg|''[[The Fire in the Borgo]]'', 1514, Stanza dell'incendio del Borgo, painted by the workshop to Raphael's design
</gallery>

===Architecture===
[[File:PalazzoBranconioDellAquila.jpg|thumb|[[Palazzo Branconio dell'Aquila]], now destroyed]]
After Bramante's death in 1514, Raphael was named architect of the new [[St. Peter's Basilica|St Peter's]]. Most of his work there was altered or demolished after his death and the acceptance of Michelangelo's design, but a few drawings have survived. It appears his designs would have made the church a good deal gloomier than the final design, with massive piers all the way down the nave, "like an alley" according to a critical posthumous analysis by [[Antonio da Sangallo the Younger]]. It would perhaps have resembled the temple in the background of ''[[The Expulsion of Heliodorus from the Temple]]''.<ref>Jones & Penny:215–18</ref>

He designed several other buildings, and for a short time was the most important architect in Rome, working for a small circle around the Papacy. Julius had made changes to the street plan of Rome, creating several new thoroughfares, and he wanted them filled with splendid palaces.<ref>Jones & Penny:210–11</ref>

An important building, the [[Palazzo Branconio dell'Aquila]] for Leo's Papal [[Chamberlain (office)|Chamberlain]] [[Giovanbattista Branconio dell'Aquila|Giovanni Battista Branconio]], was completely destroyed to make way for [[Bernini]]'s ''piazza'' for St. Peter's, but drawings of the façade and courtyard remain. The façade was an unusually richly decorated one for the period, including both painted panels on the top story (of three), and much sculpture on the middle one.<ref>Jones & Penny:221–22</ref>

The main designs for the Villa Farnesina were not by Raphael, but he did design, and decorate with mosaics, the [[Chigi Chapel]] for the same patron, [[Agostino Chigi]], the Papal Treasurer. Another building, for Pope Leo's doctor, the [[Palazzo Jacopo da Brescia]], was moved in the 1930s but survives; this was designed to complement a palace on the same street by Bramante, where Raphael himself lived for a time.<ref>Jones & Penny:219–20</ref>

[[File:ChigiLorenzetto.jpg|left|thumb|View of the [[Chigi Chapel]]]]

The [[Villa Madama]], a lavish hillside retreat for Cardinal Giulio de' Medici, later [[Pope Clement VII]], was never finished, and his full plans have to be reconstructed speculatively. He produced a design from which the final construction plans were completed by [[Antonio da Sangallo the Younger]]. Even incomplete, it was the most sophisticated villa design yet seen in Italy, and greatly influenced the later development of the genre; it appears to be the only modern building in Rome of which [[Palladio]] made a measured drawing.<ref>Jones and Penny:226–34; Raphael left a long letter describing his intentions to the Cardinal, reprinted in full on pp. 247–48</ref>

Only some floor-plans remain for a large palace planned for himself on the new [[via Giulia]] in the [[Regola (rione of Rome)|rione of Regola]], for which he was accumulating the land in his last years. It was on an irregular island block near the river Tiber. It seems all façades were to have a [[giant order]] of [[pilaster]]s rising at least two storeys to the full height of the [[piano nobile]], "a grandiloquent feature unprecedented in private palace design".<ref>Jones & Penny:224–26 (quotation)</ref>

Raphael asked [[Marco Fabio Calvo]] to translate [[Vitruvius]]'s ''[[I quattro libri dell'architettura|Four Books of Architecture]]'' into Italian; this he received around the end of August 1514. It is preserved at the Library in Munich with handwritten margin notes by Raphael.{{sfn|Salmi et al.|1969|pp=572–73, 588}}

===Antiquity===
In about 1510, Raphael was asked by Bramante to judge contemporary copies of ''[[Laocoön and His Sons]]''.{{sfn|Salmi et al.|1969|p=110}} In 1515, he was given powers as Prefect over all antiquities unearthed within, or a mile outside the city.<ref name=JonesPenny205/> Anyone excavating antiquities was required to inform Raphael within three days, and stonemasons were not allowed to destroy inscriptions without permission.{{sfn|Salmi et al.|1969|p=582}} Raphael wrote a letter to Pope Leo suggesting ways of halting the destruction of ancient monuments, and proposed a visual survey of the city to record all antiquities in an organised fashion. The pope intended to continue to re-use ancient masonry in the building of St Peter's, also wanting to ensure that all ancient inscriptions were recorded, and sculpture preserved, before allowing the stones to be reused.<ref name=JonesPenny205>Jones & Penny:205 The letter may date from 1519, or before his appointment</ref>

According to [[Marino Sanuto the Younger]]'s diary, in 1519 Raphael offered to transport an obelisk from the Mausoleum of August to St. Peter's Square for 90,000 ducats.{{sfn|Salmi et al.|1969|pp=569, 582}} According to [[Marcantonio Michiel]], Raphael's "youthful death saddened men of letters because he was not able to furnish the description and the painting of ancient Rome that he was making, which was very beautiful".{{sfn|Salmi et al.|1969|p=570}} Raphael intended to make an archaeological map of ancient Rome but this was never executed.{{sfn|Salmi et al.|1969|p=574}} Four archaeological drawings by the artist are preserved.{{sfn|Salmi et al.|1969|p=579}}

===Other painting projects===
[[File:Raphael - The Miraculous Draft of Fishes - Google Art Project.jpg|thumb|''The Miraculous Draught of Fishes'', 1515, one of the seven remaining ''[[Raphael Cartoons]]'' for tapestries for the [[Sistine Chapel]] ([[Victoria and Albert Museum]])]]
The Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes [[Portrait of Pope Julius II|Julius II]] and his successor [[Portrait of Leo X (Raphael)|Leo X]], the former considered one of his finest. Other portraits were of his own friends, like Castiglione, or the immediate Papal circle. Other rulers pressed for work, and King [[Francis I of France]] was sent two paintings as [[diplomatic gift]]s from the Pope.<ref>One, a portrait of [[Joanna of Aragon, Queen consort of Naples]], for which Raphael sent an assistant to Naples to make a drawing, and probably left most of the painting to the workshop. Jones & Penny:163</ref> For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the ''[[Galatea (Raphael)|Triumph of Galatea]]'' and designed further decorative frescoes for his [[Villa Farnesina]], a chapel in the church of [[Santa Maria della Pace]] and mosaics in the funerary chapel in [[Santa Maria del Popolo]]. He also designed some of the decoration for the Villa Madama, the work in both villas being executed by his workshop.

One of his most important papal commissions was the [[Raphael Cartoons]] (now in the [[Victoria and Albert Museum]]), a series of 10 [[cartoon]]s, of which seven survive, for tapestries with scenes of the lives of [[Paul of Tarsus|Saint Paul]] and [[Saint Peter]], for the [[Sistine Chapel]]. The cartoons were sent to [[Brussels]] to be woven in the workshop of [[Pier van Aelst]]. It is possible that Raphael saw the finished series before his death—they were probably completed in 1520.<ref>Jones & Penny:133–47</ref> He also designed and painted the ''[[Vatican loggias|Loggie]]'' at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style [[grottesche]].<ref>Jones & Penny:192–97</ref> He produced a number of significant altarpieces, including [[The Ecstasy of St. Cecilia (Raphael)|''The Ecstasy of St. Cecilia'']] and the ''[[Sistine Madonna]]''. His last work, on which he was working up to his death, was a large ''[[Transfiguration (Raphael)|Transfiguration]]'', which together with ''[[Christ Falling on the Way to Calvary (Raphael)|Il Spasimo]]'' shows the direction his art was taking in his final years—more proto-[[Baroque]] than [[Mannerist]].<ref>Jones & Penny:235–46, though the relationship of Raphael to Mannerism, like the definition of Mannerism itself, is much debated. See Craig Hugh Smyth, ''Mannerism & Maniera'', 1992, IRSA Vienna, {{ISBN|3-900731-33-0}}</ref>

<gallery widths="200px" heights="200px" perrow="4">
File:Raphael's Triumph of Galatea 01.jpg|''[[Galatea (Raphael)|Triumph of Galatea]]'', 1512, his only major classical mythological subject, for Chigi's villa ([[Villa Farnesina]])
File:Raphael Spasimo.jpg|''[[Christ Falling on the Way to Calvary (Raphael)|Il Spasimo]]'', 1517, brings a new degree of expressiveness to his art ([[Museo del Prado]])
File:The Holy Family - Rafael.jpg|''[[The Holy Family of Francis I (Raphael)|The Holy Family]]'', 1518 ([[Louvre]])
File:Transfiguration Raphael.jpg|''[[Transfiguration (Raphael)|Transfiguration]]'', 1520, unfinished at his death ([[Pinacoteca Vaticana]])
</gallery>