GALATEA.
Raphael .
Speaking of Raphael’s use of mythological subjects, though not quite in the order of time, we may here mention his frescos illustrating the story of Cupid and Psyche, painted on the walls and ceiling of the same nobleman’s palace, the Chigi palace. The drawings for these pictures were made by Raphael, but most of the painting was done by his pupils. As we study these pictures of the joys and sorrows of this beautiful pair, we are interested, but we regret that our angel-painter was willing, even for a short time, to leave his own proper subjects, the religious. We feel like saying, “Let men who know not the depth of religious feeling, as did Raphael, paint for us the myth and the secular story, but let us save from any earthly touch our painter of sacred things.”
In 1513 the great Julius died, and Leo X., a member of the famous Medici family of Florence, succeeded to his place. Raphael was in the midst of his paintings in the Vatican, and for a time it was uncertain what the new Pope would think of continuing these expensive decorations. Though lacking the energy of Julius, Leo continued the warrior-pope’s policy regarding art works. So Raphael went on unmolested in his work, with now and then a great commission added.
During the life of Leo the power of the Church sunk to a low level, and yet the angel-painter of the Vatican pursued in peace the composition and painting of his lovely works.
The “St. Cecilia ” was a very important work painted about the time of Julius’ death. It was painted for a wealthy woman of Bologna to adorn a chapel which she had built to St. Cecilia, the patroness of music. She had built this chapel because she thought she heard angels telling her to do it; in other words she had obeyed a vision.
In the picture the saint stands in the centre of a group made up of St. John, St. Paul, St. Augustine, and Ma