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in the world. It is in connexion with the manner in which moral obligation is recognised by Christianity, that the works of Raphael must be considered. This, with few exceptions, supplies both their substantive combinations, and constitutes their distinguishing element their vivifying spirit. Raphael is the most eminently Christian painter; not so much merely in respect to the subjects of his pictures, which were in general those most adopted by the painters of the time; but in respect to their sentiment. Religion having passed through the mystery and greatness of the creeds of India and of Egypt, under the influence of Grecian philosophy became denuded of every element except that of pure reason.⚫ In Greece, theology, or more properly the theogony, was a classification of numbers or qualities, which was so extended, that pantheism was philosophy, and philosophy religion, so completely, that the Roman, whose form of worship was derived from that of the Greek-a lengthening of its progression might erect an altar to the unknown God" wherever he sojourned. But a revulsion was about to take place. A new and more powerful combination of religious sentiment was to be formed, embracing elements which had either been altogether denied, or poorly and inadequately recognised; and upon which an important and direct dependence was to be placed. The Orphic or Hesiodic all perfect Love, from being regarded merely as a mythic genesis of the gods-the remote power which originated their existence from or against Night was to be considered (and in this sense might still sustain a somewhat similar allegory) an influencing principle of human action;

a virtue which might dwell in man— charity; which originates, or, in a wide acceptation, is properly one with trust, faith, or reliance. Dependant upon this, the moral code of Christian theology is evulgated in those particular forms by which it is strikingly distinguished. Its doctrines, the sentiments which it inculcates, and the characters by which they are exemplified, from the first become the sub

jects of emotion. The trust, or faith, or love, or charity, of human feeling, becomes to a certain extent, or may, in one sense, be said to be, the key to the happiness of existence, both in this life and in a future. The cor cordium of Christian humanity is benevolence, which must be held to regulate (eheu! only to modify) human action.

It is from this that the spirit of the works of Raphael emanates. Benevolence is influential throughout them. At a period when such would appear in a great measure to have been practically banished from religion itself, it was in them the groundwork of an extensive means of supporting religion. Other grand features of these times may also be traced to this origin, which, in so-called history, if adverted to at all, appear only to form a portion of its register of error, illiberality, and crime. A history of sentiment would exonerate the human race.

Under this influence, rejecting all allusion to the evils which it is fitted to oppose-in almost no instance adverting to or expressing_moral_deficiency-the pictures of Raphael demonstrate practical virtue, founded upon, and in connexion with its exemplification in the characters by which Christianity is announced. They are an interpretation of the nature of these, made by, and addressed to, the affections. It was in this that they supported and illustrated the doctrines of the Church; not merely, as already noticed, in respect to, or in dependence on, the subjects which they adopt, but also in regard to the tendency of the sentiments which they enforce their unison with the precepts which it inculcates, in the bearing of which, the scope of the labours of Raphael must be deemed to be co-inherent, alike finding their value in the constitution of the mind of man. Called forth in aid of religion by the power of the Church of Rome, they bring home to men's bosoms those universal sentiments in which its morality is based. Made the means of moving the heart, by exciting those sympathies which all are expected to feel, they also produced reliance on the doctrines of re

It may be considered to have been the contention for a time, betwixt pure reason and religious sentiment under popular notions, not altogether that betwixt knowledge and ignorance, which led the people in Greece to banish their sages, and make them drink the hemlock.

ligion-they stimulated confidence in its abstract dogmas, by giving birth to moral emotion.'

At the first view, it may appear impossible to bring the varied range of the works of Raphael under one designation or category; but that variety, on their proper nature and relation being perceived, only serves more strikingly to exhibit their collected and specific character. Had his works been less numerous and varied, they might have more readily appeared to be isolated examples of what they now extensively embrace, and, in painting, become the principal exponents of. Whatever are the subjects, their sphere is the same; to such an extent, that it might be urged against their fidelity, in connexion with description or history. But their greatness does not consist in being faithful to these. The worth of all the great masters consists in the working outwards of particular or exclusive portions of mind. Thus the works of each are limited to certain circles-fate-bound within a certain range; and, before painting is understood (if unprejudiced play is given to the mind, it must always be correctly felt), it must be regarded as a whole, of which the separate works of each form a part. This may be considered to be dependant upon the limited nature of human power, and so far it is; but it also was, in a great measure, the result of the character of those ages which produced the greatest painters. In the painting of these, the apprehension of any particular subject or character is only to be ar. rived at by a comparison of the opinions or dictates (it must be recollect. ed that painting was, for centuries, almost alone the book-Bible-of Europe) of various masters. Thus, to take as an example the idea of Deity, as expressed in the works of Michael Angelo and Raphael. Michael Angelo has, by a combination of form, attitude, and colour, expressed mental greatness, super-humanity. The pro

cess of the conception, and its signification or meaning, are both profoundly intellectual. Raphael both in style and expression, impresses dignified and reposed benevolence, and exalted humanity. Each illustrates or specifies particular portions of the subject; they draw the mind toward its contemplation under different aspects. It is in this view that the works of Raphael must be considered to come collectively under one designation: their numerous combinations present the Eternal Father, the Christ, Madonna, saints, disciples, prophets, philosophers, doctors, and dignitaries of the Church, soldiers, and all the incidental characters which they offer, under the dominion of one range of sentiment.

Of this the most eminent and radical manifestation, are the pictures of the Madonna and the Infant Jesus. In these the nature of the genius of Raphael is most strongly exemplified, and his greatest excellence in art exhibited. They may be viewed as a centre, from which the ethical bearing of his other works was irradiated. The expression of any superhuman character cannot be considered at all to be their aim; they would thus be removed from the sphere of those emotions which they present in a visibly appreciable form. No sentiment of doubt or question enters into them. The enquiry of intellectual power has no place. They express a reposed elysium of feeling. They canonize one of the first of the charities of life. In their subject and expression the kindred relations are raised into the sphere of divinity. They are a visible apotheosis of maternal love, worth, and duty. Of this, they meet the mental conception or idea; beyond which, if it is possible to go, no other exemplification has passed, and in very few instances nearly reached.

The progress towards the perfected evolution of the expression of these pictures, proceeded throughout the

Not on any preconcerted or systematic plan, such as that of Spenser's Faery Queen, which is "disposed into twelve books, fashioning twelve moral virtues," but which, in the relation that it establishes with the mind, rather becomes expressive of a mixture of the poetry of allegory and chivalric romance, than essentially impressive of the sentiments which it professes to set forth. In Raphael, this is set forth in the matter

much more than the mode.

His picture of God dividing light from darkness cannot be said to conform to this. In it he probably intended to enter the sphere of Michael Angelo, but has altogether failed. It has not power or will, but much vulgar effort.

whole line of the predecessors of Raphael, from the resuscitation of painting. The earliest mosaics-those attributed to St Luke the Evangelist, but the works of Greeks of the middle ages, or probably even of the twelfth century, by Apollonius or his associates-supply the first attempts at the pictured reference to it. It is peculiar, and only incident in a prominent degree to Roman Catholic painting. It can scarcely be said to appear in Greek sculpture; the only important instances in which, that refer to the sanctity of the relations of kindred, are the Niobe and the Laocoon, and in both they are adopted not to enforce their value, but to enhance, or assist the expression of other sentiments. They are rendered subjective to the epic expression of woe, in the one instance, and of mighty suffering in the other-the contention of will with fate. In the Greek poets, the morality dependant upon the sacredness of these relations is extensively referred to; but, in almost every noticeable instance, it must be considered that it is subordinated to particular objects, which, on the other hand, are seldom or never subordinate to this. Their violation in the story of the Iliad, finds a cause for the epic expression of the character of Greek heroism. In the Eumenides of Eschylus, which is built on their perceived importance, they are subservient to the announcement of the power of the gods. The Edipus of Sophocles presents their subjection to irrevocable fate-to the unquestionable will of the Stygian Jove.

Throughout the works of Raphael,

the character of the Madonna continues, under various aspects, to furnish a principal exemplification of their nature. From her personification in his beautiful early picture of the Marriage of the Virgin, to that of her beatification, finished by his pupils, a diversified, and it may almost be said a continuous, series of the ex

pression of emotion, under the influence of moral sentiment, is presentedfrom placid trust to compassionating agony.

Next to the Virgin Mary, the angelic personages most strongly present the essential features of his works. They are so moulded in, and significative of amenity and benevolenceso imbued with open-eyed benignity, that in those instances wherein they become the ministers of vengeance, as in the fresco of the expulsion of Heliodorus from the temple, their expression almost becomes contorted. It appears to be the assumption of what they seem physically and mentally incapable of feeling or expressing. In this instance, their expression is that of irritation; it is deficient in superhuman power, in connexion with intelleet. So, likewise, is the head, and also the figure of the warrior on horseback, which was intended to represent the vision that drove back the intruder; which, in connexion with its subject, is one of the most unfortunate of the productions of Raphael. As an angry warrior, who assumes the appearance of being still more so than he really is-as a half-Gothic Roman, clad (but this belongs to convention, which must be so far allowed for in all the old masters) in the mixed mode of the decay of the empire, it is a good figure, but not as a representation of the immediate agent of Deity.§ But, in the same picture, there is a contrast to this failure in the figures of the females, and in those of Pope Julius II. with his attendants. In these, Raphael comes upon the ground to which his powers are adapted.

In the Infant Jesus, much has been considered to have been expressed that is almost incompatible with possibility. But if the expression (considering it separately from its union with the whole sentiment of the pictures of the Madonna and Child, and Holy Families) may be regarded to be to any extent distinct from that

The refined criticisms that have been made on the Laocoon, which define the measure of mental suffering that the father endures on account of his son's being involved in the like calamity with himself, only attest how little their authors felt or understood the work.

† At Milan.

At Rome, in the gallery of the Vatican.

This figure has been often praised, in connexion with its subject, by those who had learned that Raphael was great; but, not knowing in what respect he was great, and having a notion of what should have been done here, had either faith enough to believe it done, or did voluntary violence to their own feelings, and gave hypocritical com mendation to what deserves none.

of the frequently attendant cherubim, it consists in making the infant countenance-at times so expressive of intuitive perception-more completely its type. But, throughout his works, Raphael cannot be considered to be in general successful in the Christ. There are, however, so far, exceptions to this; but he probably attempted more (though this cannot be said to be apparent by study or labour) to pursue an idea, and more to present what was in conformity to that, than altogether to rely upon the expression with which his powers coincided. These, however, although ample and eminent in many subordinate characters, and necessary as part of the expression of the union of the divine and human in this instance, are not sufficient for its whole. Nor did the intellectuality of Michael Angelo effect it; here he again was deficient in what Raphael possessed.

Next to these, the characters which frequently recur, and continue most distinctly to exemplify the nature of his genius, are the young St John, St Elizabeth, Mary Magdalene, Joseph, and St John the beloved-each of which present different features of sentiment under the same influence.

But, although particular characters may be specified as affording the most direct exemplification of what has been stated to distinguish Raphael, it must be kept in view, that the qualities peculiar to his genius cannot almost be said to exist more in one instance than in another; although, from the subject of his works coinciding with it, it may be more fully displayed. What must be considered the spirit of his works, was frequently opposed to that of their letter or subject. This, a reference to the Battle of Constantine, may exemplify. It cannot be considered to be, in an elementary or essential manner, expressive of strife and confliction. There is too much urbanity even in the anatomical expression. The whole is a very inadequate representation of the ruin and confusion of such a scene. In this it falls in comparison with Le Brun's Alexander passing the Granicus, and its value must rest upon its style and signification in other respects. The figure of Constantine is without much expression; but so far as it does possess such, it is not that of warlike energy, but of the reposed power of justice he is preceded by divine ministers. Throughout the whole, there

is scarcely a head, figure, or group, which impresses the idea of the awakened impetuosity of mortal combat. The figure of Mezentius presents a poor impersonation of the defeated and drowning tyrant; while the principal incident-the only feature which is not implied by such a subject, and the most efficiently produced in the work, refers to the refined miseries of civil and kindred strife-in the father recognising his slain son.

In the Incendio del Borgo-the Pope arresting the fire of the suburbs of Rome-the interest is altogether centred, to the disregard of the miracle, in incidents which exemplify affection and duty. The School of Athens, in a series of elevated characters, inculcates the dignity of wisdom-of mental superiority, which is met by youth with eager and implicit confidence in its dictates. The Dispute of the Sacrament presents numerous features of worth, intelligence, and consideration -the fiery zeal of theological disputation has no place. The subject is little heeded: the aspect and station of the personages of the assembly seem alone to be regarded.

But every work of Raphael might here be adduced. Each, more or less, exemplifies the sentiment-that, ruling throughout the whole, sacrifices, or probably, in the instance of their author, does not fully permit the apprehension of any other, which would materially interfere with its predominance. As a combined whole, in their essential tendency, the works of Raphael stand single and distinct among the various productions of the different

arts.

The living poetry of Homer presents the self-boasted cause of Greek superiority-the union of the demigod heroism of its imagined chronology with actual history. The tragic poets of Grecce exhibit their overruling power of the gods. Greek sculpture is a perfected combination of reason and poetic sentiment in many various modes. Greek architecture is poetry united to the rigidity of mathematical law. The Eneid poetizes narrative; Lucan and Lucretius, Roman battle-fields and prevalent philosophy. Dante and Michael Angelo evulgate the fluctuating strife of intellect. Raphael recognises moral distinction under the influence of reposed benevolence; from which, in common with Pythagoras, Plato, and the evangelist St John, he derives his titlethe divine.

HYMNS TO THE GODS.

BY ALBERT PIKE-OF ARKANSAS.

No. L-TO NEPTUNE.

GOD of the mighty deep! wherever now
The waves beneath thy brazen axles bow-

Whether thy strong proud steeds, wind-wing'd and wild,
Trample the storm-vex'd waters round them piled,
Swift as the lightning-flashes, that reveal

The quick gyrations of each brazen wheel;
While round and under thee, with hideous roar,
The broad Atlantic, with thy scourging sore,
Thundering, like antique Chaos in his spasms,
In heaving mountains, and deep-yawning chasms,
Fluctuates endlessly; while through the gloom,
Their glossy sides and thick manes fleck'd with foam,
Career thy steeds, neighing with frantic glee
In fierce response to the tumultuous sea-
Whether thy coursers now career below,
Where, amid storm-wrecks, hoary sea-plants grow
Broad-leaved, and fanning with a ceaseless motion
The pale cold tenants of the abysmal ocean-
Oh, come! our altars waiting for thee stand,
Smoking with incense on the level strand!

Perhaps thou lettest now thy horses roam
Upon some quiet plain: no wind-toss'd foam
Is now upon their limbs, but leisurely
They tread with silver feet the sleeping sea,
Fanning the waves with slowly floating manes
Like mist in sunlight: Haply, silver strains
From clamorous trumpets round thy chariot ring,
And green-robed sea-gods unto thee, their king,
Chant, loud in praise: Apollo now doth gaze
With loving looks upon thee, and his rays
Light up thy steeds' wild eyes: A pleasant warm
Is felt upon the sea, where fierce cold storm
Has just been rushing, and the noisy winds
That Eolus now within their prison binds,
Flying with misty wings: Perhaps, below

Thou liest in green caves, where bright things glow
With myriad colours-many a monster cumbers
The sand a-near thee, while old Triton slumbers
As idly as his wont, and bright eyes peep
Upon thee every way, as thou dost sleep.

Perhaps thou liest on some Indian isle
Under a waving tree, where many a mile
Stretches a sunny shore, with golden sands
Heap'd up in many shapes by Naiad's hands,
And, blushing as the waves come rippling on,
Shaking the sunlight from them as they run
And curl upon the beach-like molten gold
Thick-set with jewellery most rare and old-
And sea-nymphs sit, and with small delicate shells
Make thee sweet melody, as in deep dells
We hear, of summer nights, by fairies made,
The while they dance within some quiet shade,
Sounding their silver flutes most low and sweet,
In strange but beautiful tunes, that their light feet

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