Pre-Raphaelites

“ This school of decline has, in fact, made its appearance among the other symptoms of the mediæval mania, and we now gravely hang up in our exhibitions the productions of the Pre-Raphaelites! The name at first provoked so much ridicule in England, that their friends were at pains to inform the world, that it was assumed merely for the purpose of intimating their entire separation from the schools of Raphael and his successors, and their exclusive devotion to nature. The artists of Germany, however, with whom the mania commenced, were less scrupulous. ”

“ True, Mentzel proved that a realistic artist could live at once in two epochs, and be equally successful in his portrayal of both the past and the present. But Mentzel is an exception, the most remarkable exception in the whole history of art. The Pre-Raphaelites cannot prove the compatibility of realism and history either, because history in their art was not a digression from the intended course, but rather the point of departure. Late offshoots of Romanticism, they grew up on historical painting. ”

“ The English have at all times lacked the courage of their emotions, but not the emotions themselves. Their reticence has stood for strength as well as for stiffness. The pre-Raphaelites, indeed, surrendered their souls with docility to every wavelet of feeling, and produced something iridescent, like the shining of wet sand. ”

“ The artist's life is a hard one."
At eleven Mr. Tillotson was talking about the pre-Raphaelites. At a quarter past he had begun to tell the story of B.R. Haydon all over again. At twenty-five minutes to twelve he collapsed quite speechless into his chair. Most of the guests had already gone away; the few who remained made haste to depart. Lord Badgery led the old man to the door and packed him into the second Rolls-Royce. The Tillotson Banquet was over; it had been a pleasant evening, but a little too long.
Spode walked back to his rooms in Bloomsbury, whistling as he went. ”

“ There is no other collection of English poems so saturated with Pre-Raphaelitism. The flowers are all orchids, strange in shape, violent in colouring. Rapunzel, e.g., is like one of Maeterlinck's spellbound princesses. She stands at the top of her tower, letting down her hair to the ground, and her lover climbs up to her by it as by a golden stair. Here is again the singular Pre-Raphaelite and symbolistic scenery, with its images from art and not from nature. Tall damozels in white and scarlet walk in garths of lily and sunflower, or under apple boughs, and feed the swans in the moat. ”

“ We begin, in all probability, by telling the youth of fifteen or sixteen, that Nature is full of faults, and that he is to improve her; but that Raphael is perfection, and that the more he copies Raphael the better ”

“ For the youthful Raphael, on the other hand, at that moment, antiquity, as with "the dew of herbs," seemed therein "to awake and sing" out of the dust, in all its sincerity, its cheerfulness and natural charm. He has turned it into a picture; has helped to make his original only too familiar, perhaps, placing the three sisters against his own favourite, so unclassic, Umbrian background indeed, but with no trace of the Peruginesque ascetic, Gothic meagreness in themselves; emphasising rather, with a hearty acceptance, the nude, the flesh; making the limbs, in fact, a little heavy. ”

“ By the memory of the decretals, said Friar John, tell us, I pray you, what you honest men here live on? Could not a man take a chirping bottle with you to taste your wine? I can see nothing among you but parchment, ink-horns, and pens. We live on nothing else, returned Double-fee; and all who live in this place must come through my hands. How, quoth Panurge, are you a shaver, then? Do you fleece ‘em? Ay, ay, their purse, answered Double-fee; nothing else. By the foot of Pharaoh, cried Panurge, the devil a sou will you get of me. ”

“ This flaunting Euripides, cried Panurge, was gabbling against women every foot, and therefore was devoured by dogs, as a judgment from above; as Aristophanes observes. Let's go on. Let him speak that is next. I can leak now like any stone-horse, said then Epistemon. I am, said Xenomanes, full as an egg and round as a hoop; my ship's hold can hold no more, and will now make shift to bear a steady sail. Said Carpalin, A truce with thirst, a truce with hunger; they are strong, but wine and meat are stronger. I'm no more in the dumps cried Panurge; my heart's a pound lighter. ”

“ The cause, as I imagine, is to the end that every day and every night, and that continually, we may be ready to hear, and by a perpetual hearing apt to learn. For, of all the senses, it is the fittest for the reception of the knowledge of arts, sciences, and disciplines; and it may be that man was an angel, that is to say, a messenger sent from God, as Raphael was to Tobit. ”

“ They are different in their choice, different in their faculties, but all the same in this, that Raphael himself, so far as he was great, and all who preceded or followed him who ever were great, became so by painting the truths around them as they appeared to each man's own mind, not as he had been taught to see them, except by the God who made both him and them. ”

“ Raphaels; the first, a little figure executed when he was a boy in the studio of his master Perugino, is now on one side of an altar-piece in the Certosa at Pavia. Later in life, and in one of his finest works, he has introduced his patron saint with infinite beauty of feeling: in the Madonna della Pesce, [98] the Virgin sits upon her throne, with the Infant Christ in her arms; the angel Raphael presents Tobias, who is not here a youth but a child; while the Infant Christ turns away from the wise bearded old doctor, who is intently studying his great book, to welcome the angel and his charge. ”

“ Raphael never attained in any other of his works such solemn depth of colour, such majesty of character, as in this triumph of his art. “Never was sorrow like unto the sorrow” he has depicted in the Virgin’s countenance and attitude; never was the expression of a sublime and God-like calm in the midst of acute suffering conveyed more closely home to the human heart than in the face of Christ. ”

“ Pre-Raph′aelitism, a term used by Holman Hunt, J. E. Millais and W. M. Rossetti, three English painters of the 19th century, to denote their predilection for the great masters before the time of Raphael, who studied nature rather than technical rules and dogmas. The three representatives of the pre-Raphaelite school appeared in the exhibition-season of 1849, Millais with Lorenzo and Isabella, Hunt with Rienzi and Rossetti with The Girlhood of the Virgin, and excited the most flattering attention ”

“ In the chaotic conditions belonging to this epoch lived Rabelais. We are not surprised that, in the midst of this society, corrupt from its debaucheries and tottering on its foundations, and being witness to such ruin and devastation, the genius of this wonderful man prompted him to reveal, by means of withering sarcasm, the frightful past of the Middle Ages, the effects of which were still felt in his own century, which looked back upon that past with horror. ”

“ If his light has shone even in this dark den, what a luster will it shed in some high position, where the world can see its brightness! Raphael is so unlike all other men whom I have met with; wherever he be, he will exercise power, and that power will be exerted for good. ”

“ Careful investigations and research in our time have made it very clear that there are many misunderstandings with regard to his personal character which should be removed. Rabelais ran the whole gamut of life in his time. He was first a friar, then a monk, took his medical degrees at Montpellier, a physician who gained considerable prestige for his knowledge of medicine, a writer of books that were widely read, a scholar whose journeys to Rome gave him a breadth of knowledge unusual even in his time, and the intimate friend of some of the great and good churchmen and literary men of his time. ”

“ Raphael has been called the most marvellous union of all the qualities which make the others severally great: design, color, power of chiaroscuro, perspective effect, imagination, style; above all, expression, and that grace which is the beautiful of beauties. Not only were his first essays, when still a faithful disciple of the Umbrian school, works of faith; but also those which he wrought in his zenith, such as the Attila, Heliodorus, and the miracle of Bolsena. His delight was in symbolic subjects, theology, jurisprudence, philosophy, poetry, representing ideas in his figures. ”

“ Yet, if we follow the actual growth of his powers, within their proper framework, the age of the Renaissance—an age of which we may say, summarily, that it enjoyed itself, and found perhaps its chief enjoyment in the attitude of the scholar, in the enthusiastic acquisition of knowledge for its own sake:—if we thus view Raphael and his works in their environment we shall find even his seemingly mechanical good fortune hardly distinguishable from his own patient disposal of the means at hand. ”

“ The Count of Africa had thrown for the empire of the world—and lost.
'Brave old Sun!' said Raphael, 'how merrily he flashes off the sword-blades yonder, and never cares that every tiny spark brings a death-shriek after it! Why should he? It is no concern of his. Astrologers are fools. His business is to shine; and on the whole, he is one of my few satisfactory sensations. ”

“ RAPHAEL (Hebrew Sem, “God heals”) , an angel who in human disguise and under the name of Azarias (“Yahweh helps”) accompanies Tobias in his adventurous journey and conquers the demon Asmodaeus (Book of Tobit) . He is said (Tob. xii. 15) to be “one of the seven holy angels [archangels] which present the prayers of the saints and go in before the glory of the Holy One.” In the Book of Enoch (c. xx.) Raphael is “the angel of the spirits of men,” and it is his business to “heal the earth which the angels have denied.” ”

“ SEWARD.
And, sir, when Raphael has told the Rebellion and Fall of the Angels, Adam, with a natural movement of curiosity, asks of this "Divine Interpreter" how this frame of things began?
NORTH.
And Raphael answers by declaring at large the Purpose and the Manner. The Mission of Raphael is to strengthen, if it be practicable, the Human Pair in their obedience. To this end, how apt his discourse, showing how dear they are to the Universal Maker, how eminent in his Universe! ”

“ And as she saw Raphael’s dark face gazing into her own and read the words that told of the Erzerum tragedy of more than twenty years ago and that spoke of Raphael as a hero, ready to avenge, she felt care slip from her shoulders just as years before she had felt quick relief upon the setting down of her great bundle on some friendly doorstep. ”

“ Some persons have charged Francis Rabelais, the imperial honour of our land, with spiteful tricks and apish pranks, unworthy of his Homeric philosophy, of this prince of wisdom of this fatherly centre, from which have issued since the rising of his subterranean light a good number of marvellous works. Out upon those who would defile this divine head! All their life long may they find grit between their teeth, those who have ignored his good and moderate nourishment. ”

“ Thou to mankind
Be good and friendly still, and oft return!
This character of benignity is stamped on all the best representations of Raphael, which, however, are not common: they occur principally in the chapels dedicated to the holy guardian angels; but there are also churches and chapels dedicated to him singly.
The devotional figures of Raphael exhibit him in the dress of a pilgrim or traveller, ‘his habit fit for speed succinct,’ sandals on his feet, his hair bound with a fillet or diadem, the staff in his hand, and sometimes a bottle of water or a wallet (panetière) slung to his belt. ”

“ I have so much fasted that I’m almost grown hump-shouldered. Come, then, let’s go into the church, said Homenas; and pray forgive us if for the present we do not sing you a fine high mass. The hour of midday is past, and after it our sacred decretals forbid us to sing mass, I mean your high and lawful mass. But I’ll say a low and dry one for you. I had rather have one moistened with some good Anjou wine, cried Panurge; fall to, fall to your low mass, and despatch. Ods-bodikins, quoth Friar John, it frets me to the guts that I must have an empty stomach at this time of day ”

“ Raphael was an amiable rake, no better and no worse than the majority of those gifted pupils to whom he was at once a model of perfection and an example of free living; and those who maintain that art is always the expression of a people's religion have but an imperfect acquaintance with the age of Praxiteles, Apelles and Zeuxis. ”

“ Raphael doubtless owed to antiquity something of the power that enabled him spontaneously to create such a masterpiece; but in this case he has far surpassed his models, and we should search vainly in antique art for a more ideal and grand figure than that of this marvellous infant. However, hitherto we have only examined the body, what shall we say about the head to give a true idea of it? In fact, that is perhaps the most extraordinary and most indescribable part of the whole picture. The Infant Jesus seems to recoil from the spectacle of human shame ”

“ The influences that were at work to lift medical education to a higher plane in practical efficiency may be judged from such expressions as those of Rabelais, who, in his letter on education in "Gargantua," suggests as preparatory studies for medicine, Greek and Latin with even a little Hebrew, for the sake of the Holy Scriptures, and natural science, especially zoology, botany and mineralogy, and "then carefully go over again the books of the Greek, Arabian and Latin physicians, not despising the Talmudists and Cabalists ”