Raphael Cartoons
Encyclopedia
The Raphael Cartoons are seven large cartoon
s for tapestries
, now in the Victoria and Albert Museum
, London
, painted by the High Renaissance
painter Raphael in 1515-16 and showing scenes from the Gospel
s and Acts of the Apostles
. They are the only surviving members of a set of ten cartoons commissioned by Pope Leo X
for tapestries for the Sistine Chapel
in the Vatican Palace, which are still (on special occasions) hung below Michelangelo
's famous ceiling
. Reproduced in the form of prints
, they rivalled Michelangelo's ceiling as the most famous and influential designs of the Renaissance, and were well known to all artists of the Renaissance and Baroque. Admiration of them reached its highest pitch in the 18th and 19th centuries; they were described as "the Parthenon sculptures of modern art".
s, Raphael was paid only 1,000.
The cartoons are painted in a glue distemper
medium on many sheets of paper glued together (as can be seen in the full-size illustrations); they are now mounted on a canvas backing. They are all slightly over 3 m (3 yd) tall, and from 3 to 5 m (3 to 5 yd) wide; the figures are therefore over-lifesize. Although some colours have faded, they are in general in very good condition. The tapestries are mirror-images of the cartoons, as they were worked from behind; Raphael's consciousness of this in his designs appears to be intermittent. Raphael's workshop would have assisted in their completion; they were finished with great care, and actually show a much more subtle range of colouring than was capable of being reproduced in a tapestry. Some small preparatory drawings also survive: one for The Conversion of the Proconsul is also in the Royal Collection, and the Getty Museum in Malibu has a figure study of St Paul Rending His Garments. There would have been other drawings for all the subjects, which have been lost; it was from these that the first prints were made.
The seven cartoons were probably completed in 1516 and were then sent to Brussels
, where the Vatican tapestries were woven by the workshop of Pieter van Aelst
. Various other sets were made later, including one acquired by Henry VIII of England
in 1542; King Francis I of France
had another of similar date. Cartoons were sometimes returned with tapestries to the commissioner, but this clearly did not happen here. The tapestries had very wide and elaborate borders, also designed by Raphael, which these cartoons omit; presumably they had their own cartoons. The borders included ornamentation in an imitation of Ancient Roman relief sculptures and carved porphyry
. The tapestries were made with both gold and silver thread; some were later burnt by soldiers to collect the precious metals. The first delivery was in 1517, and seven were displayed in the Chapel for Christmas in 1519 (then as now, their display was reserved for special occasions).
Raphael knew that the final product of his work would be produced by craftsmen rendering his design in another medium; his efforts are therefore entirely concentrated on strong compositions and broad effects, rather than felicitous handling or detail. It was partly this that made the designs so effective in reduced print versions. The Raphael of the cartoons was revered by the Carracci, but the great period of their influence began with Nicolas Poussin
, who borrowed heavily from them and "indeed exaggerated Raphael's style - or rather concentrated it, for he was working on a much smaller scale". Thereafter they remained the touchstone of one approach to history painting
until at least the early 19th century - the Raphael whose influence the Pre-Raphaelites wanted to reject was perhaps above all the Raphael of the cartoons.
and Paul. The programme emphasised a number of points relevant to contemporary controversies in the period just before the Reformation
, but especially the entrusting of the Church to Saint Peter
, the founder of the Papacy. There were relatively few precedents for these subjects, so Raphael was less constrained by traditional iconographic expectations than he would have been with a series on the life of Christ or Mary. He no doubt received some advice or instructions in choosing the scenes to depict. The scenes from the Life of Peter were designed to hang below the fresco
es of the Life of Christ by Perugino and others in the middle register of the Chapel; opposite them, the Life of Saint Paul was to hang below the Life of Moses
in fresco. An intervening small frieze
showed subjects from the life of Leo, also designed to complement the other series. Each sequence begins at the altar wall, with the Life of Peter on the right side of the Chapel and Life of Paul on the left. Including the three subjects with no surviving cartoons, the set contains (the full scriptural quotations and a commentary are on the V&A website):
collection in 1623 by Charles I of England
, then still Prince of Wales
, using agents. He only paid £300 for them, a price that suggests they were regarded as working designs rather than works of art in their own right. Charles in fact intended to make further tapestries from them at Mortlake
(and did, with new borders, paying £500 each) but was well aware of their artistic significance. They had been cut into long vertical strips a yard wide, as was required for use on low-warp tapestry looms, and were only permanently rejoined in the 1690s at Hampton Court. In Charles' time they were stored in wooden boxes in the Banqueting House, Whitehall
. They were one of the few items in the Royal Collection
withheld from sale by Oliver Cromwell
after Charles' execution. The fate of the other three cartoons from the set is unknown.
William III
commissioned Sir Christopher Wren and William Talman
to design the "Cartoon Gallery" at Hampton Court Palace
in 1699, specially to contain them. By this date the prestige of tapestries in general was beginning to wane, and those of the early sets that had survived were probably already rather faded and dirty. From this point on the cartoons became regarded as the most authentic and attractive expression of Raphael's conceptions. European taste had also moved in their favour; their dignified classicism was very much in tune with a movement away from the more frenzied versions of the Baroque
. The fame of the cartoons, as opposed to the designs in general, grew rapidly.
In 1763, when George III moved them to the newly bought Buckingham House (now Buckingham Palace
) there were protests in Parliament by John Wilkes
and others, as they would no longer be accessible to the public (Hampton Court had long been open to visitors). They had been greatly studied by artists and cognoscenti alike whilst at Hampton Court, and played a crucial role in forming English expectations of a monumental style of painting - one of the great preoccupations of English art in the 18th century. They were often mentioned in the Discourses of Sir Joshua Reynolds
, the dominant English critical work on art of the century. Having explained that "The principal works of modern art are in fresco" he specifically adds the cartoons "which, though not strictly to be called fresco, yet may be put under that denomination" before claiming that "Raffaelle ... stands in general foremost of the first painters..." (i.e. the best painters) and comparing Raphael's works in oil unfavourably to his frescoes.
In 1804 they were returned to Hampton Court, where in 1858 they were photographed for the first time by Charles Thompson Thurston, having been taken out into the courtyard and placed upside down on special scaffolding. In 1865 Queen Victoria
decided that the cartoons should be exhibited on loan at the Victoria and Albert Museum
, London
, England, where they are still to be seen in a specially designed gallery. There are also copies at many locations, including Knole House
and Hampton Court Palace, where the copies painted in the 1690s by an artist named Henry Cooke
are displayed in the Cartoon Gallery. The Royal Collection also has a set of the tapestries. A set of copies painted by Sir James Thornhill have been owned by Columbia University
since 1959, and another is in the Royal Academy
had gained through his prints
, and set out to emulate him. Raphael had no knowledge of printmaking
himself, and was probably too busy to want to learn the techniques, but he was the most successful of the Italians in spreading his fame through prints, through his much debated relationship with the engraver Marcantonio Raimondi
and his workshop. Raphael made many drawings solely as designs for prints, and the workshop made a large number of prints, apparently working always from drawings rather than the finished work, of Raphael's paintings in the Vatican and elsewhere; the tapestry designs were no exception. These prints themselves were very widely copied by other printmakers, and spread rapidly through Europe.
The earliest datable print after one of the designs is an engraving of 1516 by Agostino Veneziano
, then working in the workshop of Marcantonio Raimondi, of the Death of Ananias,http://www.childsgallery.com/work.php?work_id=1316517947 This was probably made even before that tapestry was woven. The composition is in the same direction as the tapestry, but since the printmaking
process would also reverse the direction of the composition, this almost certainly means it was deliberately reversed compared to the detailed preparatory drawing in the Royal Collection on which it was based (see above; the two agree in all details), probably by taking a counterprint from the chalk drawing. All Raimondi and Veneziano's prints of Raphael's designs in Raphael's lifetime were based on drawings, according to both Landau and Pons. Raimondi himself engraved one of the set, which were presumably all produced around 1516, so that even many in the Roman art world may have seen prints of the designs before they saw the tapestries themselves.
Agostino's engraving was rapidly copied in another well-known version, a four-colour chiaroscuro woodcut by Ugo da Carpi
, dated 1518. The da Carpi woodcut is often cited in studies of the complex question of early image copyright, as it bears (in its first state
) a Latin inscription beneath the image claiming "copyright"-style privileges from both the Venetian Republic and the Papacy (covering the Papal States
) and threatening excommunication
for anyone breaching the latter. Apart from other straightforward copies of the prints from the Raimondi set, Parmigianino
did a typically individual print version of one design from the set in about 1530
A later large set of engraving
s by Matthaeus Merian the Elder illustrating the Bible, from around the end of the century, used some of the compositions, slightly increasing the height, and elaborating them. These were much used and copied in popular books, further widening the knowledge of the designs to a much larger audience.
After the cartoons were reassembled at the end of the 17th century, by which time printmakers were well accustomed to copying direct from large paintings, they became the dominant source of new print copies. By the 18th century many different print versions were in circulation, of varying faithfulness and quality.
Prints
Cartoon
A cartoon is a form of two-dimensional illustrated visual art. While the specific definition has changed over time, modern usage refers to a typically non-realistic or semi-realistic drawing or painting intended for satire, caricature, or humor, or to the artistic style of such works...
s for tapestries
Tapestry
Tapestry is a form of textile art, traditionally woven on a vertical loom, however it can also be woven on a floor loom as well. It is composed of two sets of interlaced threads, those running parallel to the length and those parallel to the width ; the warp threads are set up under tension on a...
, now in the Victoria and Albert Museum
Victoria and Albert Museum
The Victoria and Albert Museum , set in the Brompton district of The Royal Borough of Kensington and Chelsea, London, England, is the world's largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects...
, London
London
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
, painted by the High Renaissance
High Renaissance
The expression High Renaissance, in art history, is a periodizing convention used to denote the apogee of the visual arts in the Italian Renaissance...
painter Raphael in 1515-16 and showing scenes from the Gospel
Gospel
A gospel is an account, often written, that describes the life of Jesus of Nazareth. In a more general sense the term "gospel" may refer to the good news message of the New Testament. It is primarily used in reference to the four canonical gospels of Matthew, Mark, Luke, and John...
s and Acts of the Apostles
Acts of the Apostles
The Acts of the Apostles , usually referred to simply as Acts, is the fifth book of the New Testament; Acts outlines the history of the Apostolic Age...
. They are the only surviving members of a set of ten cartoons commissioned by Pope Leo X
Pope Leo X
Pope Leo X , born Giovanni di Lorenzo de' Medici, was the Pope from 1513 to his death in 1521. He was the last non-priest to be elected Pope. He is known for granting indulgences for those who donated to reconstruct St. Peter's Basilica and his challenging of Martin Luther's 95 Theses...
for tapestries for the Sistine Chapel
Sistine Chapel
Sistine Chapel is the best-known chapel in the Apostolic Palace, the official residence of the Pope in Vatican City. It is famous for its architecture and its decoration that was frescoed throughout by Renaissance artists including Michelangelo, Sandro Botticelli, Pietro Perugino, Pinturicchio...
in the Vatican Palace, which are still (on special occasions) hung below Michelangelo
Michelangelo
Michelangelo di Lodovico Buonarroti Simoni , commonly known as Michelangelo, was an Italian Renaissance painter, sculptor, architect, poet, and engineer who exerted an unparalleled influence on the development of Western art...
's famous ceiling
Sistine Chapel ceiling
The Sistine Chapel ceiling, painted by Michelangelo between 1508 and 1512, at the commission of Pope Julius II, is a cornerstone work of High Renaissance art. The ceiling is that of the large Papal Chapel built within the Vatican between 1477 and 1480 by Pope Sixtus IV after whom it is named...
. Reproduced in the form of prints
Old master print
An old master print is a work of art produced by a printing process within the Western tradition . A date of about 1830 is usually taken as marking the end of the period whose prints are covered by this term. The main techniques concerned are woodcut, engraving and etching, although there are...
, they rivalled Michelangelo's ceiling as the most famous and influential designs of the Renaissance, and were well known to all artists of the Renaissance and Baroque. Admiration of them reached its highest pitch in the 18th and 19th centuries; they were described as "the Parthenon sculptures of modern art".
Commission and the tapestries
Raphael, whom Michelangelo greatly disliked, was highly conscious that his work would be seen beside the Sistine Chapel ceiling, which had been finished only two years before, and took great care perfecting his designs, which are among his largest and most complicated. Originally the set was intended to include 16 tapestries. Raphael was paid twice by Leo, in June 1515 and December 1516, the last payment apparently being upon completion of the work. Tapestries remained enormously prestigious; the Sistine set cost at least five times as much as Michelangelo's ceiling. Most of the expense was in the manufacture: although the creation of the tapestries in Brussels cost 15,000 ducatDucat
The ducat is a gold coin that was used as a trade coin throughout Europe before World War I. Its weight is 3.4909 grams of .986 gold, which is 0.1107 troy ounce, actual gold weight...
s, Raphael was paid only 1,000.
The cartoons are painted in a glue distemper
Distemper (paint)
Distemper is a term with a variety of meanings for paints used in decorating and as a historical medium for painting pictures. The binding element may be some form of glue or oil; these are known in decorating respectively as soft distemper and oil bound distemper.-Soft distemper:Distemper is an...
medium on many sheets of paper glued together (as can be seen in the full-size illustrations); they are now mounted on a canvas backing. They are all slightly over 3 m (3 yd) tall, and from 3 to 5 m (3 to 5 yd) wide; the figures are therefore over-lifesize. Although some colours have faded, they are in general in very good condition. The tapestries are mirror-images of the cartoons, as they were worked from behind; Raphael's consciousness of this in his designs appears to be intermittent. Raphael's workshop would have assisted in their completion; they were finished with great care, and actually show a much more subtle range of colouring than was capable of being reproduced in a tapestry. Some small preparatory drawings also survive: one for The Conversion of the Proconsul is also in the Royal Collection, and the Getty Museum in Malibu has a figure study of St Paul Rending His Garments. There would have been other drawings for all the subjects, which have been lost; it was from these that the first prints were made.
The seven cartoons were probably completed in 1516 and were then sent to Brussels
Brussels
Brussels , officially the Brussels Region or Brussels-Capital Region , is the capital of Belgium and the de facto capital of the European Union...
, where the Vatican tapestries were woven by the workshop of Pieter van Aelst
Pieter van Aelst
Pieter van Aelst or Pieter Coecke van Aelst was a Flemish painter. He studied under Bernaert van Orley and later lived in Italy before entering the Antwerp Guild of painters in 1527. In 1533, he travelled to Constantinople for one year in a failed attempt to establish business connections for...
. Various other sets were made later, including one acquired by Henry VIII of England
Henry VIII of England
Henry VIII was King of England from 21 April 1509 until his death. He was Lord, and later King, of Ireland, as well as continuing the nominal claim by the English monarchs to the Kingdom of France...
in 1542; King Francis I of France
Francis I of France
Francis I was King of France from 1515 until his death. During his reign, huge cultural changes took place in France and he has been called France's original Renaissance monarch...
had another of similar date. Cartoons were sometimes returned with tapestries to the commissioner, but this clearly did not happen here. The tapestries had very wide and elaborate borders, also designed by Raphael, which these cartoons omit; presumably they had their own cartoons. The borders included ornamentation in an imitation of Ancient Roman relief sculptures and carved porphyry
Porphyry (geology)
Porphyry is a variety of igneous rock consisting of large-grained crystals, such as feldspar or quartz, dispersed in a fine-grained feldspathic matrix or groundmass. The larger crystals are called phenocrysts...
. The tapestries were made with both gold and silver thread; some were later burnt by soldiers to collect the precious metals. The first delivery was in 1517, and seven were displayed in the Chapel for Christmas in 1519 (then as now, their display was reserved for special occasions).
Raphael knew that the final product of his work would be produced by craftsmen rendering his design in another medium; his efforts are therefore entirely concentrated on strong compositions and broad effects, rather than felicitous handling or detail. It was partly this that made the designs so effective in reduced print versions. The Raphael of the cartoons was revered by the Carracci, but the great period of their influence began with Nicolas Poussin
Nicolas Poussin
Nicolas Poussin was a French painter in the classical style. His work predominantly features clarity, logic, and order, and favors line over color. His work serves as an alternative to the dominant Baroque style of the 17th century...
, who borrowed heavily from them and "indeed exaggerated Raphael's style - or rather concentrated it, for he was working on a much smaller scale". Thereafter they remained the touchstone of one approach to history painting
History painting
History painting is a genre in painting defined by subject matter rather than an artistic style, depicting a moment in a narrative story, rather than a static subject such as a portrait...
until at least the early 19th century - the Raphael whose influence the Pre-Raphaelites wanted to reject was perhaps above all the Raphael of the cartoons.
Subjects
The Raphael Cartoons represent scenes from the lives of Saints PeterSaint Peter
Saint Peter or Simon Peter was an early Christian leader, who is featured prominently in the New Testament Gospels and the Acts of the Apostles. The son of John or of Jonah and from the village of Bethsaida in the province of Galilee, his brother Andrew was also an apostle...
and Paul. The programme emphasised a number of points relevant to contemporary controversies in the period just before the Reformation
Protestant Reformation
The Protestant Reformation was a 16th-century split within Western Christianity initiated by Martin Luther, John Calvin and other early Protestants. The efforts of the self-described "reformers", who objected to the doctrines, rituals and ecclesiastical structure of the Roman Catholic Church, led...
, but especially the entrusting of the Church to Saint Peter
Saint Peter
Saint Peter or Simon Peter was an early Christian leader, who is featured prominently in the New Testament Gospels and the Acts of the Apostles. The son of John or of Jonah and from the village of Bethsaida in the province of Galilee, his brother Andrew was also an apostle...
, the founder of the Papacy. There were relatively few precedents for these subjects, so Raphael was less constrained by traditional iconographic expectations than he would have been with a series on the life of Christ or Mary. He no doubt received some advice or instructions in choosing the scenes to depict. The scenes from the Life of Peter were designed to hang below the fresco
Fresco
Fresco is any of several related mural painting types, executed on plaster on walls or ceilings. The word fresco comes from the Greek word affresca which derives from the Latin word for "fresh". Frescoes first developed in the ancient world and continued to be popular through the Renaissance...
es of the Life of Christ by Perugino and others in the middle register of the Chapel; opposite them, the Life of Saint Paul was to hang below the Life of Moses
Moses
Moses was, according to the Hebrew Bible and Qur'an, a religious leader, lawgiver and prophet, to whom the authorship of the Torah is traditionally attributed...
in fresco. An intervening small frieze
Frieze
thumb|267px|Frieze of the [[Tower of the Winds]], AthensIn architecture the frieze is the wide central section part of an entablature and may be plain in the Ionic or Doric order, or decorated with bas-reliefs. Even when neither columns nor pilasters are expressed, on an astylar wall it lies upon...
showed subjects from the life of Leo, also designed to complement the other series. Each sequence begins at the altar wall, with the Life of Peter on the right side of the Chapel and Life of Paul on the left. Including the three subjects with no surviving cartoons, the set contains (the full scriptural quotations and a commentary are on the V&A website):
- Life of Peter
- The Miraculous Draught of Fishes (John 21: 1-14)
- Christ's Charge to Peter (Matthew 16:16-19) The key moment from the Gospels for the claims of the Papacy.
- The Healing of the Lame Man (Acts 3:1-8)
- The Death of AnaniasAnanias and SapphiraAnanias and his wife Sapphira were, according to the Acts of the Apostles, members of the Early Christian church in Jerusalem.-The story:...
(Acts 5:1-10).
- Life of Paul
- The Stoning of St Stephen (no cartoon) at which Paul (Saul) was present before his conversion.
- The Conversion of Saint Paul (no cartoon) http://www.metmuseum.org/toah/hd/taps/taps_1.htm
- The Conversion of the Proconsul or The Blinding of ElymasElymasElymas, also known as Bar-Jesus , was a Jewish magician who appears in the New Testament in the Acts of the Apostles, chapter 13....
(Acts 13:6-12). Paul has been invited to preach to the Roman proconsul of PaphosPaphosPaphos , sometimes referred to as Pafos, is a coastal city in the southwest of Cyprus and the capital of Paphos District. In antiquity, two locations were called Paphos: Old Paphos and New Paphos. The currently inhabited city is New Paphos. It lies on the Mediterranean coast, about west of the...
, Sergius PaulusSergius PaulusLucius Sergius Paullus was a Proconsul of Cyprus under Claudius . He appears in Acts , where in Paphos Paul, accompanied by Barnabas and John Mark, overcame the attempts of Bar-Jesus or Elymas and converted Sergius to Christianity....
, but is heckled by Elymas, a "magus", who Paul miraculously causes to go temporarily blind, thus converting the proconsul. - The Sacrifice at LystraLystraLystra was a city in what is now modern Turkey. It is mentioned five times in the New Testament. It was visited a few times by the Apostle Paul, along with Barnabas or Silas.-Location:...
(Acts 14:8). After Paul miraculously cures a cripple, the people of Lystra see him and his companion BarnabasBarnabasBarnabas , born Joseph, was an Early Christian, one of the earliest Christian disciples in Jerusalem. In terms of culture and background, he was a Hellenised Jew, specifically a Levite. Named an apostle in , he and Saint Paul undertook missionary journeys together and defended Gentile converts...
(both standing left) as gods, and want to make a sacrifice to them. Paul tears his garments in disgust, whilst Barnabas speaks to the crowd, persuading the young man at centre to restrain the man with the sacrificial ax. - St Paul in prison (no cartoon), smaller than the others.
- St Paul Preaching in Athens (Acts 17:16-34), the figure standing at the left in a red cap is a portrait of Leo; next to him is Janus LascarisJanus LascarisJanus Lascaris , also called John Rhyndacenus , was a noted Greek scholar in the Renaissance.After the fall of Constantinople he was taken to the Peloponnese and to Crete...
, a Greek scholar in Rome. The kneeling couple at the right were probably added by Giulio RomanoGiulio RomanoGiulio Romano was an Italian painter and architect. A pupil of Raphael, his stylistic deviations from high Renaissance classicism help define the 16th-century style known as Mannerism...
, then an assistant to Raphael.
In England
The cartoons were bought from a GenoeseGenoa
Genoa |Ligurian]] Zena ; Latin and, archaically, English Genua) is a city and an important seaport in northern Italy, the capital of the Province of Genoa and of the region of Liguria....
collection in 1623 by Charles I of England
Charles I of England
Charles I was King of England, King of Scotland, and King of Ireland from 27 March 1625 until his execution in 1649. Charles engaged in a struggle for power with the Parliament of England, attempting to obtain royal revenue whilst Parliament sought to curb his Royal prerogative which Charles...
, then still Prince of Wales
Prince of Wales
Prince of Wales is a title traditionally granted to the heir apparent to the reigning monarch of the United Kingdom of Great Britain and Northern Ireland and the 15 other independent Commonwealth realms...
, using agents. He only paid £300 for them, a price that suggests they were regarded as working designs rather than works of art in their own right. Charles in fact intended to make further tapestries from them at Mortlake
Mortlake
Mortlake is a district of London, England and part of the London Borough of Richmond upon Thames. It is on the south bank of the River Thames between Kew and Barnes with East Sheen inland to the south. Mortlake was part of Surrey until 1965.-History:...
(and did, with new borders, paying £500 each) but was well aware of their artistic significance. They had been cut into long vertical strips a yard wide, as was required for use on low-warp tapestry looms, and were only permanently rejoined in the 1690s at Hampton Court. In Charles' time they were stored in wooden boxes in the Banqueting House, Whitehall
Banqueting House, Whitehall
The Banqueting House, Whitehall, London, is the grandest and best known survivor of the architectural genre of banqueting house, and the only remaining component of the Palace of Whitehall...
. They were one of the few items in the Royal Collection
Royal Collection
The Royal Collection is the art collection of the British Royal Family. It is property of the monarch as sovereign, but is held in trust for her successors and the nation. It contains over 7,000 paintings, 40,000 watercolours and drawings, and about 150,000 old master prints, as well as historical...
withheld from sale by Oliver Cromwell
Oliver Cromwell
Oliver Cromwell was an English military and political leader who overthrew the English monarchy and temporarily turned England into a republican Commonwealth, and served as Lord Protector of England, Scotland, and Ireland....
after Charles' execution. The fate of the other three cartoons from the set is unknown.
William III
William III of England
William III & II was a sovereign Prince of Orange of the House of Orange-Nassau by birth. From 1672 he governed as Stadtholder William III of Orange over Holland, Zeeland, Utrecht, Guelders, and Overijssel of the Dutch Republic. From 1689 he reigned as William III over England and Ireland...
commissioned Sir Christopher Wren and William Talman
William Talman (architect)
William Talman was an English architect and landscape designer. A pupil of Sir Christopher Wren, in 1678 he and Thomas Apprice gained the office of King's Waiter in the Port of London...
to design the "Cartoon Gallery" at Hampton Court Palace
Hampton Court Palace
Hampton Court Palace is a royal palace in the London Borough of Richmond upon Thames, Greater London; it has not been inhabited by the British royal family since the 18th century. The palace is located south west of Charing Cross and upstream of Central London on the River Thames...
in 1699, specially to contain them. By this date the prestige of tapestries in general was beginning to wane, and those of the early sets that had survived were probably already rather faded and dirty. From this point on the cartoons became regarded as the most authentic and attractive expression of Raphael's conceptions. European taste had also moved in their favour; their dignified classicism was very much in tune with a movement away from the more frenzied versions of the Baroque
Baroque
The Baroque is a period and the style that used exaggerated motion and clear, easily interpreted detail to produce drama, tension, exuberance, and grandeur in sculpture, painting, literature, dance, and music...
. The fame of the cartoons, as opposed to the designs in general, grew rapidly.
In 1763, when George III moved them to the newly bought Buckingham House (now Buckingham Palace
Buckingham Palace
Buckingham Palace, in London, is the principal residence and office of the British monarch. Located in the City of Westminster, the palace is a setting for state occasions and royal hospitality...
) there were protests in Parliament by John Wilkes
John Wilkes
John Wilkes was an English radical, journalist and politician.He was first elected Member of Parliament in 1757. In the Middlesex election dispute, he fought for the right of voters—rather than the House of Commons—to determine their representatives...
and others, as they would no longer be accessible to the public (Hampton Court had long been open to visitors). They had been greatly studied by artists and cognoscenti alike whilst at Hampton Court, and played a crucial role in forming English expectations of a monumental style of painting - one of the great preoccupations of English art in the 18th century. They were often mentioned in the Discourses of Sir Joshua Reynolds
Joshua Reynolds
Sir Joshua Reynolds RA FRS FRSA was an influential 18th-century English painter, specialising in portraits and promoting the "Grand Style" in painting which depended on idealization of the imperfect. He was one of the founders and first President of the Royal Academy...
, the dominant English critical work on art of the century. Having explained that "The principal works of modern art are in fresco" he specifically adds the cartoons "which, though not strictly to be called fresco, yet may be put under that denomination" before claiming that "Raffaelle ... stands in general foremost of the first painters..." (i.e. the best painters) and comparing Raphael's works in oil unfavourably to his frescoes.
In 1804 they were returned to Hampton Court, where in 1858 they were photographed for the first time by Charles Thompson Thurston, having been taken out into the courtyard and placed upside down on special scaffolding. In 1865 Queen Victoria
Victoria of the United Kingdom
Victoria was the monarch of the United Kingdom of Great Britain and Ireland from 20 June 1837 until her death. From 1 May 1876, she used the additional title of Empress of India....
decided that the cartoons should be exhibited on loan at the Victoria and Albert Museum
Victoria and Albert Museum
The Victoria and Albert Museum , set in the Brompton district of The Royal Borough of Kensington and Chelsea, London, England, is the world's largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects...
, London
London
London is the capital city of :England and the :United Kingdom, the largest metropolitan area in the United Kingdom, and the largest urban zone in the European Union by most measures. Located on the River Thames, London has been a major settlement for two millennia, its history going back to its...
, England, where they are still to be seen in a specially designed gallery. There are also copies at many locations, including Knole House
Knole House
Knole is an English country house in the town of Sevenoaks in west Kent, surrounded by a deer park. One of England's largest houses, it is reputed to be a calendar house, having 365 rooms, 52 staircases, 12 entrances and 7 courtyards...
and Hampton Court Palace, where the copies painted in the 1690s by an artist named Henry Cooke
Henry Cooke (artist)
Henry Cooke, son of Henry Cooke, who was employed by the Ironmongers' Company, was born in 1642. He went to Italy and studied under Salvator Rosa. He painted the choir of New College Chapel, Oxford, the staircase at Ranelagh House, and Lord Carlisle's House in Soho Square...
are displayed in the Cartoon Gallery. The Royal Collection also has a set of the tapestries. A set of copies painted by Sir James Thornhill have been owned by Columbia University
Columbia University
Columbia University in the City of New York is a private, Ivy League university in Manhattan, New York City. Columbia is the oldest institution of higher learning in the state of New York, the fifth oldest in the United States, and one of the country's nine Colonial Colleges founded before the...
since 1959, and another is in the Royal Academy
Royal Academy
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly, London. The Royal Academy of Arts has a unique position in being an independent, privately funded institution led by eminent artists and architects whose purpose is to promote the creation, enjoyment and...
Prints after the designs
In the early 16th century many Italian artists learnt the lesson of the huge, and very rapid, international prestige that Albrecht DürerAlbrecht Dürer
Albrecht Dürer was a German painter, printmaker, engraver, mathematician, and theorist from Nuremberg. His prints established his reputation across Europe when he was still in his twenties, and he has been conventionally regarded as the greatest artist of the Northern Renaissance ever since...
had gained through his prints
Old master print
An old master print is a work of art produced by a printing process within the Western tradition . A date of about 1830 is usually taken as marking the end of the period whose prints are covered by this term. The main techniques concerned are woodcut, engraving and etching, although there are...
, and set out to emulate him. Raphael had no knowledge of printmaking
Printmaking
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints with an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable...
himself, and was probably too busy to want to learn the techniques, but he was the most successful of the Italians in spreading his fame through prints, through his much debated relationship with the engraver Marcantonio Raimondi
Marcantonio Raimondi
Marcantonio Raimondi, also simply Marcantonio, was an Italian engraver, known for being the first important printmaker whose body of work consists mainly of prints copying paintings. He is therefore a key figure in the rise of the reproductive print...
and his workshop. Raphael made many drawings solely as designs for prints, and the workshop made a large number of prints, apparently working always from drawings rather than the finished work, of Raphael's paintings in the Vatican and elsewhere; the tapestry designs were no exception. These prints themselves were very widely copied by other printmakers, and spread rapidly through Europe.
The earliest datable print after one of the designs is an engraving of 1516 by Agostino Veneziano
Agostino Veneziano
Agostino Veneziano, whose real name was Agostino de' Musi, was an important and prolific Italian engraver of the Renaissance.-Life:...
, then working in the workshop of Marcantonio Raimondi, of the Death of Ananias,http://www.childsgallery.com/work.php?work_id=1316517947 This was probably made even before that tapestry was woven. The composition is in the same direction as the tapestry, but since the printmaking
Printmaking
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints with an element of originality, rather than just being a photographic reproduction of a painting. Except in the case of monotyping, the process is capable...
process would also reverse the direction of the composition, this almost certainly means it was deliberately reversed compared to the detailed preparatory drawing in the Royal Collection on which it was based (see above; the two agree in all details), probably by taking a counterprint from the chalk drawing. All Raimondi and Veneziano's prints of Raphael's designs in Raphael's lifetime were based on drawings, according to both Landau and Pons. Raimondi himself engraved one of the set, which were presumably all produced around 1516, so that even many in the Roman art world may have seen prints of the designs before they saw the tapestries themselves.
Agostino's engraving was rapidly copied in another well-known version, a four-colour chiaroscuro woodcut by Ugo da Carpi
Ugo da Carpi
Ugo da Carpi , painter and printmaker, the first Italian practitioner of the art of the chiaroscuro woodcut, a technique involving the use of several wood blocks to make one print, each block cut to produce a different tone of the same colour...
, dated 1518. The da Carpi woodcut is often cited in studies of the complex question of early image copyright, as it bears (in its first state
State (printmaking)
A state, in printmaking, is a different form of a print, caused by a deliberate and permanent change to a matrix such as a copper plate or woodblock ....
) a Latin inscription beneath the image claiming "copyright"-style privileges from both the Venetian Republic and the Papacy (covering the Papal States
Papal States
The Papal State, State of the Church, or Pontifical States were among the major historical states of Italy from roughly the 6th century until the Italian peninsula was unified in 1861 by the Kingdom of Piedmont-Sardinia .The Papal States comprised territories under...
) and threatening excommunication
Excommunication
Excommunication is a religious censure used to deprive, suspend or limit membership in a religious community. The word means putting [someone] out of communion. In some religions, excommunication includes spiritual condemnation of the member or group...
for anyone breaching the latter. Apart from other straightforward copies of the prints from the Raimondi set, Parmigianino
Parmigianino
Girolamo Francesco Maria Mazzola , also known as Francesco Mazzola or more commonly as Parmigianino or sometimes "Parmigiano", was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma...
did a typically individual print version of one design from the set in about 1530
A later large set of engraving
Engraving
Engraving is the practice of incising a design on to a hard, usually flat surface, by cutting grooves into it. The result may be a decorated object in itself, as when silver, gold, steel, or glass are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing...
s by Matthaeus Merian the Elder illustrating the Bible, from around the end of the century, used some of the compositions, slightly increasing the height, and elaborating them. These were much used and copied in popular books, further widening the knowledge of the designs to a much larger audience.
After the cartoons were reassembled at the end of the 17th century, by which time printmakers were well accustomed to copying direct from large paintings, they became the dominant source of new print copies. By the 18th century many different print versions were in circulation, of varying faithfulness and quality.
Main references
Cartoons- Roger Jones and Nicholas PennyNicholas PennyNicholas Penny, FSA is a British art historian. Since Spring 2008 he has been director of the National Gallery in London....
, Raphael, Yale, 1983, ISBN 0300030614 - Lucy Whitaker and Martin Clayton, The Art of Italy in the Royal Collection; Renaissance and Baroque, Royal Collection Publications, 2007, ISBN 978 1 902163 291
Prints
- David Landau & Peter Parshall, The Renaissance Print, 1996, Yale UP, ISBN 0300068832
- Lisa Pon, Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print, 2004, Yale UP, ISBN 9780300096804
Further reading
- John Shearman, Raphael’s Cartoons in the Collection of Her Majesty the Queen and the Tapestries for the Sistine Chapel, Oxford: Clarendon 1972
- John Pope-Hennessy, The Raphael Cartoons, London, 1950
- Sharon Fermor, The Raphael Tapestry Cartoons: Narrative, Decoration, Design, Scala Books / Victoria & Albert Museum, London, 1996
External links
- Raphael Cartoons V&A Official Site
- this article, contains a good account of tapestries in general, and the Sistine set in particular
- Australian National University, sections 98-101 cover the cartoons