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please note:{{other uses}}{{pp-semi|small=yes}}{{short description|16th-century Italian painter and architect}}
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UrbinoFile:Giovanni Santi - Christ supported by two angels.jpg|thumb|Giovanni SantiGiovanni SantiRaphael was born in the small but artistically significant central Italian city of Urbino in the Marche region,BOOK, Urbino: The Story of a Renaissance City, June, Osborne, 39 on the population, as a "few thousand" at most; even today it is only 15,000 without the students of the University, where his father Giovanni Santi was court painter to the Duke. The reputation of the court had been established by Federico da Montefeltro, a highly successful condottiere who had been created Duke of Urbino by Pope Sixtus IV â Urbino formed part of the Papal States â and who died the year before Raphael was born. The emphasis of Federico's court was rather more literary than artistic, but Giovanni Santi was a poet of sorts as well as a painter, and had written a rhymed chronicle of the life of Federico, and both wrote the texts and produced the decor for masque-like court entertainments. His poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very small court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters.Jones and Penny, pp. 1â2Federico was succeeded by his son Guidobaldo da Montefeltro, who married Elisabetta Gonzaga, daughter of the ruler of Mantua, the most brilliant of the smaller Italian courts for both music and the visual arts. Under them, the court continued as a centre for literary culture. Growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari.Vasari:207 & passim Court life in Urbino at just after this period was to become set as the model of the virtues of the Italian humanist court through Baldassare Castiglione's depiction of it in his classic work The Book of the Courtier, published in 1528. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, and they became good friends. He became close to other regular visitors to the court: Pietro Bibbiena and Pietro Bembo, both later cardinals, were already becoming well known as writers, and would be in Rome during Raphael's period there. Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a full humanistic education however; it is unclear how easily he read Latin.Jones & Penny:204
Early life and workFile:Raffaello Sanzio - Guidobaldo da Montefeltro - WGA18653.jpg|thumb|Portrait of Guidobaldo da Montefeltro, Duke of Urbino from 1482 to 1508, c.1507. (Uffizi GalleryUffizi GalleryHis mother Mà gia died in 1491 when Raphael was eight, followed on August 1, 1494 by his father, who had already remarried. Raphael was thus orphaned at eleven; his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master. He had already shown talent, according to Vasari, who says that Raphael had been "a great help to his father".Vasari, at the start of the Life. Jones & Penny:5 A self-portrait drawing from his teenage years shows his precocity.Ashmolean Museum WEB,weblink Image, z.about.com, dead,weblink" title="web.archive.org/web/20071202121830weblink">weblink 2007-12-02, His father's workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter (d. 1475), and Luca Signorelli, who until 1498 was based in nearby Città di Castello.Jones and Penny: 4â5, 8 and 20According to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice "despite the tears of his mother".{{efn|After a visit to Verrocchio's workshop, Santi recorded that both Perugino and Leonardo da Vinci were present, and seems to have viewed them as being at an equivalent skill level. After Leonardo left for Milan, Santi chose Perugino from one of two available artists to teach his son.{{sfn|Salmi et al.|1969|pp=11â12}}}} The evidence of an apprenticeship comes only from Vasari and another source,Simone Fornari in 1549â50, see Gould:207 and has been disputed; eight was very early for an apprenticeship to begin. An alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495.Jones & Penny:8 Most modern historians agree that Raphael at least worked as an assistant to Perugino from around 1500; the influence of Perugino on Raphael's early work is very clear: "probably no other pupil of genius has ever absorbed so much of his master's teaching as Raphael did", according to Wölfflin.contrasting him with Leonardo and Michelangelo in this respect. Wölfflin:73 Vasari wrote that it was impossible to distinguish between their hands at this period, but many modern art historians claim to do better and detect his hand in specific areas of works by Perugino or his workshop. Apart from stylistic closeness, their techniques are very similar as well, for example having paint applied thickly, using an oil varnish medium, in shadows and darker garments, but very thinly on flesh areas. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters.Jones and Penny:17 The Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches.Jones & Penny:2â5 Raphael is described as a "master", that is to say fully trained, in December 1500.Ettlinger & Ettlinger:19His first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino.Ettlinger & Ettlinger:20 Evangelista da Pian di Meleto, who had worked for his father, was also named in the commission. It was commissioned in 1500 and finished in 1501; now only some cut sections and a preparatory drawing remain.It was later seriously damaged during an earthquake in 1789. In the following years he painted works for other churches there, including the Mond Crucifixion (about 1503) and the Brera Wedding of the Virgin (1504), and for Perugia, such as the Oddi Altarpiece. He very probably also visited Florence in this period. These are large works, some in fresco, where Raphael confidently marshals his compositions in the somewhat static style of Perugino. He also painted many small and exquisite cabinet paintings in these years, probably mostly for the connoisseurs in the Urbino court, like the Three Graces and St. Michael, and he began to paint Madonnas and portraits.Jones and Penny:5â8 In 1502 he went to Siena at the invitation of another pupil of Perugino, Pinturicchio, "being a friend of Raphael and knowing him to be a draughtsman of the highest quality" to help with the cartoons, and very likely the designs, for a fresco series in the Piccolomini Library in Siena Cathedral.One surviving preparatory drawing appears to be mostly by Raphael; quotation from Vasari by â Jones and Penny:20 He was evidently already much in demand even at this early stage in his career.Ettlinger & Ettlinger:25â27File:CrocefissioneRaffaello.jpg|The Mond Crucifixion, 1502â3, very much in the style of Perugino (National Gallery)File:PalaOddiRaffaello.jpg|The Coronation of the Virgin 1502â3 (Pinacoteca Vaticana)File:Raffaello - Spozalizio - Web Gallery of Art.jpg|The Wedding of the Virgin, Raphael's most sophisticated altarpiece of this period (Pinacoteca di Brera)File:Lvr-george.jpg|Saint George and the Dragon, a small work (29 x 21 cm) for the court of Urbino (Louvre)
Influence of FlorenceFile:Raphael Madonna of the Pinks.jpg|thumb|Madonna of the Pinks, c. 1506â7, National Gallery, LondonNational Gallery, LondonRaphael led a "nomadic" life, working in various centres in Northern Italy, but spent a good deal of time in Florence, perhaps from about 1504. Although there is traditional reference to a "Florentine period" of about 1504â8, he was possibly never a continuous resident there.Gould:207-8 He may have needed to visit the city to secure materials in any case. There is a letter of recommendation of Raphael, dated October 1504, from the mother of the next Duke of Urbino to the Gonfaloniere of Florence: "The bearer of this will be found to be Raphael, painter of Urbino, who, being greatly gifted in his profession has determined to spend some time in Florence to study. And because his father was most worthy and I was very attached to him, and the son is a sensible and well-mannered young man, on both accounts, I bear him great love..."Jones and Penny:5As earlier with Perugino and others, Raphael was able to assimilate the influence of Florentine art, whilst keeping his own developing style. Frescos in Perugia of about 1505 show a new monumental quality in the figures which may represent the influence of Fra Bartolomeo, who Vasari says was a friend of Raphael. But the most striking influence in the work of these years is Leonardo da Vinci, who returned to the city from 1500 to 1506. Raphael's figures begin to take more dynamic and complex positions, and though as yet his painted subjects are still mostly tranquil, he made drawn studies of fighting nude men, one of the obsessions of the period in Florence. Another drawing is a portrait of a young woman that uses the three-quarter length pyramidal composition of the just-completed Mona Lisa, but still looks completely Raphaelesque. Another of Leonardo's compositional inventions, the pyramidal Holy Family, was repeated in a series of works that remain among his most famous easel paintings. There is a drawing by Raphael in the Royal Collection of Leonardo's lost Leda and the Swan, from which he adapted the contrapposto pose of his own Saint Catherine of Alexandria.National Gallery, London Jones & Penny:44 He also perfects his own version of Leonardo's sfumato modelling, to give subtlety to his painting of flesh, and develops the interplay of glances between his groups, which are much less enigmatic than those of Leonardo. But he keeps the soft clear light of Perugino in his paintings.Jones & Penny:21â45Leonardo was more than thirty years older than Raphael, but Michelangelo, who was in Rome for this period, was just eight years his senior. Michelangelo already disliked Leonardo, and in Rome came to dislike Raphael even more, attributing conspiracies against him to the younger man.Vasari, Michelangelo:251 Raphael would have been aware of his works in Florence, but in his most original work of these years, he strikes out in a different direction. His Deposition of Christ draws on classical sarcophagi to spread the figures across the front of the picture space in a complex and not wholly successful arrangement. Wöllflin detects in the kneeling figure on the right the influence of the Madonna in Michelangelo's Doni Tondo, but the rest of the composition is far removed from his style, or that of Leonardo. Though highly regarded at the time, and much later forcibly removed from Perugia by the Borghese, it stands rather alone in Raphael's work. His classicism would later take a less literal direction.Jones & Penny:44â47, and Wöllflin:79â82File:PalaAnsidei.jpg|The Ansidei Madonna, c. 1505, beginning to move on from PeruginoFile:Raphael - Madonna in the Meadow - Google Art Project.jpg|The Madonna of the Meadow, c. 1506, using Leonardo's pyramidal composition for subjects of the Holy Family.WEB,weblink Image, szepmuveszeti.hu, dead,weblink" title="web.archive.org/web/20120314135125weblink">weblink 2012-03-14, File:Raffael stcatherina.jpg|Saint Catherine of Alexandria, 1507, possibly echoes the pose of Leonardo's LedaFile:Raffaello, pala baglioni, deposizione.jpg|Deposition of Christ, 1507, drawing from Roman sarcophagi
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 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.Jones & Penny:49, differing somewhat from Gould:208 on the timing of his arrival Unlike Michelangelo, who had been kept lingering in Rome for several months after his first summons,Vasari:247 Raphael was immediately commissioned by Julius to fresco what was intended to become the Pope's private library at the Vatican Palace.Julius was no great readerâan 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 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, Alexander VI, whose contributions, and arms, Julius was determined to efface from the palace.Jones & Penny:49 Michelangelo, meanwhile, had been commissioned to paint the Sistine Chapel ceiling.File:4 Estancia del Sello (El Parnaso).jpg|thumb|left|The Parnassus, 1511, Stanza della SegnaturaStanza della SegnaturaThis 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 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.Jones & Penny:49â128 Raphael's friend Cardinal Bibbiena was also one of Leo's old tutors, and a close friend and advisor.Raphael was clearly influenced by Michelangelo's Sistine Chapel ceiling in the course of painting the room. Vasari said Bramante let him in secretly. The first section was completed 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.Jones & Penny:101â105 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.Blunt:76, Jones & Penny:103-5These very large and complex compositions have been regarded ever since as among the supreme works of the grand manner of the High Renaissance, and the "classic art" of the post-antique West. They give a highly idealised depiction of the forms represented, and the compositions, though very carefully conceived in drawings, 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 ...".Book of the Courtier 1:26 The whole passage {{webarchive|url=https://web.archive.org/web/20071224192937weblink |date=2007-12-24 }} According to Michael Levey, "Raphael gives his [figures] a superhuman clarity and grace in a universe of Euclidian certainties".Levey, Michael; Early Renaissance, p.197 ,1967, Penguin 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.File:Raffael Stanza della Segnatura.jpg|Stanza della SegnaturaFile:Raphael - The Mass at Bolsena.jpg|The Mass at Bolsena, 1514, Stanza di EliodoroFile:Raphael - Deliverance of Saint Peter.jpg|Deliverance of Saint Peter, 1514, Stanza di EliodoroFile: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
ArchitectureFile:PalazzoBranconioDellAquila.jpg|thumb|Palazzo Branconio dell'AquilaPalazzo Branconio dell'AquilaAfter Bramante's death in 1514, Raphael was named architect of the new 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.Jones & Penny:215â218He 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.Jones & Penny:210â211An important building, the Palazzo Branconio dell'Aquila for Leo's Papal Chamberlain 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.Jones & Penny:221â222The 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 di Jacobo 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.Jones & Penny:219â220File:ChigiLorenzetto.jpg|left|thumb|View of the Chigi ChapelChigi ChapelThe 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.Jones and Penny:226â234; Raphael left a long letter describing his intentions to the Cardinal, reprinted in full on pp.247â8Only some floor-plans remain for a large palace planned for himself on the new via Giulia in the 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 pilasters rising at least two storeys to the full height of the piano nobile, "a gandiloquent feature unprecedented in private palace design".Jones & Penny:224(quotation)-226Raphael asked Marco Fabio Calvo to translate Vitruvius's 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=572â73, 588}}
AntiquityIn 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. 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.Jones & Penny:205 The letter may date from 1519, or before his appointmentAccording 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 projectsFile: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 MuseumVictoria and Albert MuseumThe Vatican projects took most of his time, although he painted several portraits, including those of his two main patrons, the popes Julius II and his successor 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 gifts from the Pope.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 For Agostino Chigi, the hugely rich banker and papal treasurer, he painted the 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 cartoons, of which seven survive, for tapestries with scenes of the lives of 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 deathâthey were probably completed in 1520.Jones & Penny:133â147 He also designed and painted the Loggie at the Vatican, a long thin gallery then open to a courtyard on one side, decorated with Roman-style grottesche.Jones & Penny:192â197 He produced a number of significant altarpieces, including 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, which together with Il Spasimo shows the direction his art was taking in his final yearsâmore proto-Baroque than Mannerist.Jones & Penny:235â246, 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}}File:Raphael's Triumph of Galatea 01.jpg|Triumph of Galatea, 1512, his only major mythology, for Chigi's villa (Villa Farnesina)File:Raphael Spasimo.jpg|Il Spasimo 1517, brings a new degree of expressiveness to his art. (Museo del Prado))File:Transfiguration Raphael.jpg|Transfiguration, 1520, unfinished at his death. (Pinacoteca Vaticana))File:The Holy Family - Rafael.jpg|The Holy Family, 1518 (Louvre)
Painting materialsRaphael painted several of his works on wood support (Madonna of the Pinks) but he also used canvas (Sistine Madonna) and he was known to employ drying oils such as linseed or walnut oils. His palette was rich and he used almost all of the then available pigments such as ultramarine, lead-tin-yellow, carmine, vermilion, madder lake, verdigris and ochres. In several of his paintings (Ansidei Madonna) he even employed the rare brazilwood lake, metallic powdered gold and even less known metallic powdered bismuth.Roy, A., Spring, M., Plazzotta, C. 'Raphael's Early Work in the National Gallery: Paintings before Rome'. National Gallery Technical Bulletin Vol 25, pp 4â35Italian painters {{Webarchive|url=https://web.archive.org/web/20160315131925weblink |date=2016-03-15 }} at ColourLex
WorkshopVasari says that Raphael eventually had a workshop of fifty pupils and assistants, many of whom later became significant artists in their own right. This was arguably the largest workshop team assembled under any single old master painter, and much higher than the norm. They included established masters from other parts of Italy, probably working with their own teams as sub-contractors, as well as pupils and journeymen. We have very little evidence of the internal working arrangements of the workshop, apart from the works of art themselves, which are often very difficult to assign to a particular hand.Jones and Penny:146â147, 196â197, and Pon:82â85The most important figures were Giulio Romano, a young pupil from Rome (only about twenty-one at Raphael's death), and Gianfrancesco Penni, already a Florentine master. They were left many of Raphael's drawings and other possessions, and to some extent continued the workshop after Raphael's death. Penni did not achieve a personal reputation equal to Giulio's, as after Raphael's death he became Giulio's less-than-equal collaborator in turn for much of his subsequent career. Perino del Vaga, already a master, and Polidoro da Caravaggio, who was supposedly promoted from a labourer carrying building materials on the site, also became notable painters in their own right. Polidoro's partner, Maturino da Firenze, has, like Penni, been overshadowed in subsequent reputation by his partner. Giovanni da Udine had a more independent status, and was responsible for the decorative stucco work and grotesques surrounding the main frescoes.Jones and Penny:147, 196 Most of the artists were later scattered, and some killed, by the violent Sack of Rome in 1527.Vasari, Life of Polidoro online in English {{Webarchive|url=https://web.archive.org/web/20080417025022weblink |date=2008-04-17 }} Maturino for one is never heard of again This did however contribute to the diffusion of versions of Raphael's style around Italy and beyond.Vasari emphasises that Raphael ran a very harmonious and efficient workshop, and had extraordinary skill in smoothing over troubles and arguments with both patrons and his assistantsâa contrast with the stormy pattern of Michelangelo's relationships with both.Vasari:207 & 231 However though both Penni and Giulio were sufficiently skilled that distinguishing between their hands and that of Raphael himself is still sometimes difficult,See for example, the Raphael Cartoons there is no doubt that many of Raphael's later wall-paintings, and probably some of his easel paintings, are more notable for their design than their execution. Many of his portraits, if in good condition, show his brilliance in the detailed handling of paint right up to the end of his life.Jones & Penny:163â167 and passimOther pupils or assistants include Raffaellino del Colle, Andrea Sabbatini, Bartolommeo Ramenghi, Pellegrino Aretusi, Vincenzo Tamagni, Battista Dossi, Tommaso Vincidor, Timoteo Viti (the Urbino painter), and the sculptor and architect Lorenzetto (Giulio's brother-in-law).The direct transmission of training can be traced to some surprising figures, including Brian Eno, Tom Phillips and Frank Auerbach The printmakers and architects in Raphael's circle are discussed below. It has been claimed the Flemish Bernard van Orley worked for Raphael for a time, and Luca Penni, brother of Gianfrancesco and later a member of the First School of Fontainebleau, may have been a member of the team.Vasari (full text in Italian) pp197-8 & passim {{webarchive|url=https://web.archive.org/web/20071224204356weblink |date=2007-12-24 }}; see also Getty Union Artist Name List {{Webarchive|url=https://web.archive.org/web/20071211001545weblink |date=2007-12-11 }} entries
PortraitsFile:Raffaello - ElisabettaGonzaga.jpg|Portrait of Elisabetta Gonzaga, c. 1504File:Pope Julius II.jpg|Portrait of Pope Julius II, c. 1512File:Raffaello Sanzio - Ritratto di Bindo Altoviti.jpg|Portrait of Bindo Altoviti, c. 1514File:Baldassare Castiglione, by Raffaello Sanzio, from C2RMF retouched.jpg|Portrait of Baldassare Castiglione, c. 1515
DrawingsFile:Raimondi Lucretia's suicide.jpg|thumb|Lucretia, engraved by Raimondi after a drawing by Raphael.WEB,weblink Lucretia, Metropolitan Museum of ArtMetropolitan Museum of ArtRaphael was one of the finest draftsmen in the history of Western art, and used drawings extensively to plan his compositions. According to a near-contemporary, when beginning to plan a composition, he would lay out a large number of stock drawings of his on the floor, and begin to draw "rapidly", borrowing figures from here and there.Giovanni Battista Armenini (1533â1609) De vera precetti della pittura(1587), quoted Pon:115 Over forty sketches survive for the Disputa in the Stanze, and there may well have been many more originally; over four hundred sheets survive altogether.Jones & Penny:58 & ff; 400 from Pon:114 He used different drawings to refine his poses and compositions, apparently to a greater extent than most other painters, to judge by the number of variants that survive: "... This is how Raphael himself, who was so rich in inventiveness, used to work, always coming up with four or six ways to show a narrative, each one different from the rest, and all of them full of grace and well done." wrote another writer after his death.Ludovico Dolce (1508â68), from his L'Aretino of 1557, quoted Pon:114 For John Shearman, Raphael's art marks "a shift of resources away from production to research and development".quoted Pon:114, from lecture on The Organization of Raphael's Workshop, pub. Chicago, 1983When a final composition was achieved, scaled-up full-size cartoons were often made, which were then pricked with a pin and "pounced" with a bag of soot to leave dotted lines on the surface as a guide. He also made unusually extensive use, on both paper and plaster, of a "blind stylus", scratching lines which leave only an indentation, but no mark. These can be seen on the wall in The School of Athens, and in the originals of many drawings.Not surprisingly, photographs do not show these well, if at all. Leonardo sometimes used a blind stylus to outline his final choice from a tangle of different outlines in the same drawing. Pon:106â110. The "Raphael Cartoons", as tapestry designs, were fully coloured in a glue distemper medium, as they were sent to Brussels to be followed by the weavers.In later works painted by the workshop, the drawings are often painfully more attractive than the paintings.Lucy Whitaker, Martin Clayton, The Art of Italy in the Royal Collection; Renaissance and Baroque, p.84, Royal Collection Publications, 2007, {{ISBN|978-1-902163-29-1}} Most Raphael drawings are rather preciseâeven initial sketches with naked outline figures are carefully drawn, and later working drawings often have a high degree of finish, with shading and sometimes highlights in white. They lack the freedom and energy of some of Leonardo's and Michelangelo's sketches, but are nearly always aesthetically very satisfying. He was one of the last artists to use metalpoint (literally a sharp pointed piece of silver or another metal) extensively, although he also made superb use of the freer medium of red or black chalk.Pon:104 In his final years he was one of the first artists to use female models for preparatory drawingsâmale pupils ("garzoni") were normally used for studies of both sexes.National Galleries of Scotland {{webarchive|url=https://web.archive.org/web/20120531104853weblink |date=2012-05-31 }}File:Estudosguardasressurreicao-rafael-ashmuseum1.jpg|Study for soldiers in (commons:File:Rafael - ressureicaocristo01.jpg|this Resurrection of Christ), ca 1500.File:Raffaello, studio per le tre grazie della farnesina.jpg|Red chalk study for the Villa Farnesina Three GracesFile:Raphaël - Ãtude Madone d'Albe 1.jpg|Sheet with study for the Alba Madonna and other sketchesFile:Raffaello, studi per madonne col bambino.jpg|Developing the composition for a Madonna and Child
PrintmakingRaphael made no prints himself, but entered into a collaboration with Marcantonio Raimondi to produce engravings to Raphael's designs, which created many of the most famous Italian prints of the century, and was important in the rise of the reproductive print. His interest was unusual in such a major artist; from his contemporaries it was only shared by Titian, who had worked much less successfully with Raimondi.Pon:102. See also a lengthy analysis in: Landau:118 ff A total of about fifty prints were made; some were copies of Raphael's paintings, but other designs were apparently created by Raphael purely to be turned into prints. Raphael made preparatory drawings, many of which survive, for Raimondi to translate into engraving.The enigmatic relationship is discussed at length by both Landau and Pon in her Chapters 3 and 4.The most famous original prints to result from the collaboration were Lucretia, the Judgement of Paris and The Massacre of the Innocents (of which two virtually identical versions were engraved). Among prints of the paintings The Parnassus (with considerable differences)Pon:86â87 lists them and Galatea were also especially well known. Outside Italy, reproductive prints by Raimondi and others were the main way that Raphael's art was experienced until the twentieth century. Baviero Carocci, called "Il Baviera" by Vasari, an assistant who Raphael evidently trusted with his money,"Il Baviera" may mean "the Bavarian"; if he was German, as many artists in Rome were, this would have been helpful during the 1527 Sack; Marcantonio had many printing-plates looted from him. Jones and Penny:82, see also Vasari ended up in control of most of the copper plates after Raphael's death, and had a successful career in the new occupation of a publisher of prints.Pon:95â136 & passim; Landau:118â160, and passimFile:PhrygianSibylRaphael.jpg|Drawing for a Sibyl in the Chigi Chapel.File:Raimondi3.jpg|The Massacre of the Innocents, engraving by ? Marcantonio Raimondi from a design by Raphael.{{efn|The bridge in the background is the Pons Fabricius.{{sfn|Salmi et al.|1969|p=579}}}} The version "without fir tree".File:Urteil des Paris.jpg|Judgement of Paris, still influencing Manet, who used the seated group in his most famous work.File:Galatea (engraving).jpg|Galatea, engraving after the fresco in the Villa Farnesina
Private life and deathFile:La Fornarina by Raffaello.jpg|thumb|La FornarinaLa FornarinaFrom 1517 until his death, Raphael lived in the Palazzo Caprini in the Borgo, in rather grand style in a palace designed by Bramante. He never married, but in 1514 became engaged to Maria Bibbiena, Cardinal Medici Bibbiena's niece; he seems to have been talked into this by his friend the cardinal, and his lack of enthusiasm seems to be shown by the marriage not having taken place before she died in 1520.Vasari:230â231 He is said to have had many affairs, but a permanent fixture in his life in Rome was "La Fornarina", Margherita Luti, the daughter of a baker (fornaro) named Francesco Luti from Siena who lived at Via del Governo Vecchio.Art historians and doctors debate whether the right hand on the left breast in La Fornarina reveal a cancerous breast tumour detailed and disguised in a classic pose of love. "The Portrait of Breast Cancer and Raphael's La Fornarina", The Lancet, December 21, 2002/December 28, 2002. He was made a "Groom of the Chamber" of the Pope, which gave him status at court and an additional income, and also a knight of the Papal Order of the Golden Spur. Vasari claims that he had toyed with the ambition of becoming a cardinal, perhaps after some encouragement from Leo, which also may account for his delaying his marriage.Raphael died on Good Friday (April 6, 1520), which was possibly his 37th birthday.{{efn|Raphael's age at death is debated by some, with Michiel asserting that Raphael died at 34, while Pandolfo Pico and Girolamo Lippomano arguing that he died at 33.}} Vasari says that Raphael had also been born on a Good Friday, which in 1483 fell on March 28,{{efn|Whereas Michiel said he died on his birthday. Art historian John Shearman addressed this apparent discrepancy: "The time of death can be calculated from the convention of counting from sundown, which Michaelis puts at 6.36 on Friday 6 April, plus half-an-hour to Ave Maria, plus three hours, that is, soon after 10.00 pm. The coincidence noted between the birth-date and death-date is usually thought in this case (since it refers to the Friday and Saturday in Holy Week, the movable feast rather than the day of the month) to fortify the argument that Raphael was also born on Good Friday, i.e., 28 March 1483. But there is a notable ambiguity in Michiel's note, not often noticed: Morse ... Venerdi Santo venendo il Sabato, giorno della sua Nativita, may also be taken to mean that his birthday was on Saturday, and in that case the awareness could as well be the date, thus producing a birth-date of 7 April 1483."}} and that the artist died from exhuastion brought on by unceasing romantic interests while he was working on the Loggia.{{sfn|Salmi et al.|1969|p=598}} Several other possibilities have been raised by later historians.{{efn|Bufarale (1915) "diagnosed pneumonia or a military fever" while Portigliotti suggested pulmonary disease. Joannides stated that "Raphael died of over-work."Shearman: 573.}}In his acute illness, which lasted fifteen days, Raphael was composed enough to confess his sins, receive the last rites, and put his affairs in order. He dictated his will, in which he left sufficient funds for his mistress's care, entrusted to his loyal servant Baviera, and left most of his studio contents to Giulio Romano and Penni. At his request, Raphael was buried in the Pantheon.Vasari:231Raphael's funeral was extremely grand, attended by large crowds. According to a journal by Paris de Grassis,{{efn|Cited by Jean-M.-Vincent Audin, although there is some uncertainty as to the journal's existence.{{sfn|Salmi et al.|1969|pp=598â99}}}} four cardinals dressed in purple carried his body, the hand of which was kissed by the Pope.{{sfn|Salmi et al.|1969|pp=598â99}} The inscription in Raphael's marble sarcophagus, an elegiac distich written by Pietro Bembo, reads: "Here lies that famous Raphael by whom Nature feared to be conquered while he lived, and when he was dying, feared herself to die."{{efn|The original (in Latin): "Ille hic est Raffael, timuit quo sospite vinci, rerum magna parens et moriente mori".}}File:Raphael colonna 01.jpg|Probable self-portrait drawing by Raphael in his teensFile:Sanzio 01 Raphael.jpg|Self-portrait, Raphael in the background, from The School of AthensFile:Portrait de l'artiste avec un ami, by Raffaello Sanzio, from C2RMF retouched.jpg|Possible Self-portrait with a friend, c. 1518File:Raphael missing.jpg|Portrait of a Young Man, 1514, Lost during the Second World War. Possible self-portrait by Raphael
Critical receptionFile:RAFAEL - Madonna Sixtina (Gemäldegalerie Alter Meister, Dresde, 1513-14. Ãleo sobre lienzo, 265 x 196 cm).jpg|thumb|left|Sistine MadonnaSistine MadonnaRaphael was highly admired by his contemporaries, although his influence on artistic style in his own century was less than that of Michelangelo. Mannerism, beginning at the time of his death, and later the Baroque, took art "in a direction totally opposed" to Raphael's qualities;Chastel André, Italian Art,p. 230, 1963, Faber "with Raphael's death, classic art â the High Renaissance â subsided", as Walter Friedländer put it.Walter Friedländer, Mannerism and Anti-Mannerism in Italian Painting, p.42 (Schocken 1970 edn.), 1957, Columbia UP He was soon seen as the ideal model by those disliking the excesses of Mannerism:the opinion ...was generally held in the middle of the sixteenth century that Raphael was the ideal balanced painter, universal in his talent, satisfying all the absolute standards, and obeying all the rules which were supposed to govern the arts, whereas Michelangelo was the eccentric genius, more brilliant than any other artists in his particular field, the drawing of the male nude, but unbalanced and lacking in certain qualities, such as grace and restraint, essential to the great artist. Those, like Dolce and Aretino, who held this view were usually the survivors of Renaissance Humanism, unable to follow Michelangelo as he moved on into Mannerism.Blunt:76 Vasari himself, despite his hero remaining Michelangelo, came to see his influence as harmful in some ways, and added passages to the second edition of the Lives expressing similar views.See Jones & Penny:102-4File:Pantheon-raphaels-tomb.jpg|thumb|upright=1.2|Raphael and Maria Bibbiena's tomb in the Pantheon. The Madonna is by LorenzettoLorenzetto(File:Raphael's grave, Pantheon 2010.jpg|thumb|upright=1.2|Raphael's sarcophagus)Raphael's compositions were always admired and studied, and became the cornerstone of the training of the Academies of art. His period of greatest influence was from the late 17th to late 19th centuries, when his perfect decorum and balance were greatly admired. He was seen as the best model for the history painting, regarded as the highest in the hierarchy of genres. Sir Joshua Reynolds in his Discourses praised his "simple, grave, and majestic dignity" and said he "stands in general foremost of the first [i.e., best] painters", especially for his frescoes (in which he included the "Raphael Cartoons"), whereas "Michael Angelo claims the next attention. He did not possess so many excellences as Raffaelle, but those he had were of the highest kind..." Echoing the sixteenth-century views above, Reynolds goes on to say of Raphael:The excellency of this extraordinary man lay in the propriety, beauty, and majesty of his characters, his judicious contrivance of his composition, correctness of drawing, purity of taste, and the skilful accommodation of other men's conceptions to his own purpose. Nobody excelled him in that judgment, with which he united to his own observations on nature the energy of Michael Angelo, and the beauty and simplicity of the antique. To the question, therefore, which ought to hold the first rank, Raffaelle or Michael Angelo, it must be answered, that if it is to be given to him who possessed a greater combination of the higher qualities of the art than any other man, there is no doubt but Raffaelle is the first. But if, according to Longinus, the sublime, being the highest excellence that human composition can attain to, abundantly compensates the absence of every other beauty, and atones for all other deficiencies, then Michael Angelo demands the preference.The 1772 Discourse Online text of Reynold's Discourses {{Webarchive|url=https://web.archive.org/web/20070227211527weblink |date=2007-02-27 }} The whole passage is worth reading. Reynolds was less enthusiastic about Raphael's panel paintings, but the slight sentimentality of these made them enormously popular in the 19th century: "We have been familiar with them from childhood onwards, through a far greater mass of reproductions than any other artist in the world has ever had..." wrote Wölfflin, who was born in 1862, of Raphael's Madonnas.Wölfflin:82,In Germany, Raphael had an immense influence on religious art of the Nazarene movement and Düsseldorf school of painting in the 19th century. In contrast, in England the Pre-Raphaelite Brotherhood explicitly reacted against his influence (and that of his admirers such as Joshua Reynolds), seeking to return to styles that pre-dated what they saw as his baneful influence. According to a critic whose ideas greatly influenced them, John Ruskin:The doom of the arts of Europe went forth from that chamber [the Stanza della Segnatura], and it was brought about in great part by the very excellencies of the man who had thus marked the commencement of decline. The perfection of execution and the beauty of feature which were attained in his works, and in those of his great contemporaries, rendered finish of execution and beauty of form the chief objects of all artists; and thenceforward execution was looked for rather than thought, and beauty rather than veracity.And as I told you, these are the two secondary causes of the decline of art; the first being the loss of moral purpose. Pray note them clearly. In mediæval art, thought is the first thing, execution the second; in modern art execution is the first thing, and thought the second. And again, in mediæval art, truth is first, beauty second; in modern art, beauty is first, truth second. The mediæval principles led up to Raphael, and the modern principles lead down from him.John Ruskin (1853), Pre-Raphaelitism, p. 127 online at Project Gutenburg {{Webarchive|url=https://web.archive.org/web/20081226105825weblink |date=2008-12-26 }}By 1900, Raphael's popularity was surpassed by Michelangelo and Leonardo, perhaps as a reaction against the etiolated Raphaelism of 19th-century academic artists such as Bouguereau.Ettlinger & Ettlinger:11 Although art historian Bernard Berenson in 1952 termed Raphael the "most famous and most loved" master of the High Renaissance,Berenson, Bernard, Italian Painters of the renaissance, Vol 2 Florentine and Central Italian Schools, Phaidon 1952 (refs to 1968 ed), p.94 art historians Leopold and Helen Ettlinger say that the Raphael's lesser popularity in the 20th century is made obvious by "the contents of art library shelves ... In contrast to volume upon volume that reproduce yet again detailed photographs of the Sistine Ceiling or Leonardo's drawings, the literature on Raphael, particularly in English, is limited to only a few books".Ettlinger & Ettlinger:11 They conclude, nonetheless, that "of all the great Renaissance masters, Raphael's influence is the most continuous."Ettlinger & Ettlinger:230
See also
- Blunt, Anthony, Artistic Theory in Italy, 1450â1660, 1940 (refs to 1985 edn), OUP, {{ISBN|0-19-881050-4}}
- Gould, Cecil, The Sixteenth Century Italian Schools, National Gallery Catalogues, London 1975, {{ISBN|0-947645-22-5}}
- Ettlinger, Leopold D., and Helen S. Ettlinger, Raphael, Oxford: Phaidon, 1987, {{ISBN|0714823031}}
- Roger Jones and Nicholas Penny, Raphael, Yale, 1983, {{ISBN|0-300-03061-4}}
- Landau, David in:David Landau & Peter Parshall, The Renaissance Print, Yale, 1996, {{ISBN|0-300-06883-2}}
- Pon, Lisa, Raphael, Dürer, and Marcantonio Raimondi, Copying and the Italian Renaissance Print, 2004, Yale UP, {{ISBN|978-0-300-09680-4}}
- BOOK, Salmi, Mario, Mario Salmi, Becherucci, Luisa, Marabottini, Alessandro, Tempesti, Anna Forlani, Marchini, Giuseppe, Becatti, Giovanni Becatti, Giovanni, Castagnoli, Ferdinando, Ferdinando Castagnoli, Golzio, Vincenzo, The Complete Work of Raphael, 1969, Reynal and Co., William Morrow and Company, New York, {{sfnRef, Salmi et al., 1969, }}
- Shearman, John; Raphael in Early Modern Sources 1483â1602, 2003, Yale University Press, {{ISBN|0-300-09918-5}}
- Vasari, Life of Raphael from the Lives of the Artists, edition used: Artists of the Renaissance selected & ed Malcolm Bull, Penguin 1965 (page nos from BCA edn, 1979)
- Wölfflin, Heinrich; Classic Art; An Introduction to the Renaissance, 1952 in English (1968 edition), Phaidon, New York.
Further reading
- The standard source of biographical information is now: V. Golzio, Raffaello nei documenti nelle testimonianze dei contemporanei e nella letturatura del suo secolo, Vatican City and Westmead, 1971
- The Cambridge Companion to Raphael, Marcia B. Hall, Cambridge University Press, 2005, {{ISBN|0-521-80809-X}},
- New catalogue raisonné in several volumes, still being published, Jürg Meyer zur Capellen, Stefan B. Polter, Arcos, 2001â2008
- Raphael. James H. Beck, Harry N. Abrams, 1976, LCCN 73-12198, {{ISBN|0-8109-0432-2}}
- Raphael, Pier Luigi De Vecchi, Abbeville Press, 2003. {{ISBN|0789207702}}
- Raphael, Bette Talvacchia, Phaidon Press, 2007. {{ISBN|9780714847863}}
- Raphael, John Pope-Hennessy, New York University Press, 1970, {{ISBN|0-8147-0476-X}}
- Raphael: From Urbino to Rome; Hugo Chapman, Tom Henry, Carol Plazzotta, Arnold Nesselrath, Nicholas Penny, National Gallery Publications Limited, 2004, {{ISBN|1-85709-999-0}} (exhibition catalogue)
- The Raphael Trail: The Secret History of One of the World's Most Precious Works of Art; Joanna Pitman, 2006. {{ISBN|0091901715}}
- Raphael â A Critical Catalogue of his Pictures, Wall-Paintings and Tapestries, catalogue raisonné by Luitpold Dussler published in the United States by Phaidon Publishers, Inc., 1971, {{ISBN|0-7148-1469-5}} (out of print, but there is an online version here weblink)
- Wolk-Simon, Linda. (2006). Raphael at the Metropolitan: The Colonna Altarpiece. New York: The Metropolitan Museum of Art. {{ISBN|9781588391889}}.
External links{{Commons|Raffaello Sanzio}}
- {{Art UK bio}}
- {{Britannica|491442}}
- Raphael Research Resource from the National Gallery, London
- weblink" title="web.archive.org/web/20090612055706weblink">V&A London online feature on the Raphael Cartoons
- weblink" title="web.archive.org/web/20071225002900weblink">Ten drawings and three paintings from the Royal Collection
- Web Gallery of Art
- weblink" title="web.archive.org/web/20070926235717weblink">Most of the Raphael/Raimondi prints from the San Francisco Museums
- Raphael Project/Raffael Projekt
- weblink" title="web.archive.org/web/20130501172201weblink">Website of Teylers Museum on the provenance of the Raphael drawings in the museum's collection.
- Birthplace Museum of Raphael, Urbino, on the Artist's Studio Museum Network website
- Raphael Santi at ColourLex.
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Alfa Giulia - 1973
By Phil Wicks
I have always been a sucker for small car racing probably because of the tight racing on tight circuits and whole packs of racers in bunches jostling for position; often the lead changes several times in a lap and again cars can find themselves in dire trouble in the blinking of an eye; facing back the way they came, short cuts across precarious infields and gravel traps; or, in the worst case scenarios, the errant racer could easily end up on his roof for the merest of misdemeanours.
But whichever aspect of small car racing you like, they will never fail to amuse and entertain. One of the most enjoyable series I have watched on the TV in many a while are the various touring car races across Europe, both modern and classic. There have been many classic cars on the track starting from way back in the days of the Escorts and Cortinas, FIATs and Peugeots, BMW's and many more besides.
So when it came to picking a model from this era it was hard not to fall into the 'common or garden' variety of slotcar. Plenty of Escorts and Minis about, Capri's and Rovers a plenty but like I always do, I couldn't find that special model which even if it didn't become victorious on the piste, it would shine on a shelf in the pits for ever more.
I was trolling through several resin body web site and was almost on the verge of giving up when I stumbled upon this classic Alfa Romeo. Mostly remembered for the endless times it appeared as a police car in every other Italian movie of the seventies, and as a rally car on three wheels in nearly all early European Rally films I decided that it was for me, even though from first appearances it looked too high and narrow, once finished it could well end up as a shelf queen, but lets hope not!
A quick 'add to basket' and smooth Paypal transaction generated a day later a 'your order has been dispatched' email from Pendle Slot Racing, along with several other parts and accessories which I anticipated would be needed for the build. Still with no conclusive decision of livery I left it blank until the model was nearing completion. As it happened, the few decals used where from my ever increasing pile of classic sponsor decals.
Not a tricky build and if you have checked out my other builds you will see there is a theme running through them all and this model was not going to differ. The only wandering from spec was the use of a vac formed drivers tray which I have avoided in the past, but I am becoming increasingly pleased by the quality and detail of these items.
Once again a little divergence from the norm and first job was to get the 28 gram body weight down to 20 grams. Once again this was achieved with the trusty Dremel tool and some nifty attachments. Once the body was suitably lightened the next task was to get the vacuum formed parts to fit. This required careful sanding and filing around the window apertures. The three 'wixwacing' body mounting posts were located next and the vac detail was trimmed to fit between the posts. Chassis and drive train parts were finalised and fixed in place. This left only exterior decoration to finish the model. Again, using techniques already documented in other model reviews we finally achieved the finished product.
Pendle Slot Racing
After gear-bedding and tyre sanding and the odd tweak to the fit of the chassis the model had some extensive 'dry' track time to get its parts to settle in. And, after a few days it was ready for a lube job and its first test. The class was NC1 Classic Sports Cars and, whereas I was originally going to run a 250 Berlinetta SWB, I stood in for one heat for an absentee drive and after 25 laps and three minutes racing round a very technical track' I romped home in first place on debut in an eleven car field. By then the absent driver turned up and I resumed racing with the Berlinetta which was an equally thrilling experience.
Last of the jobs to hand was to get the model up to race weight before painting the under chassis matt black. On the short technical tracks I like these slower models to weigh in at about 85 grams (40gm front, 45 gr rear and I let my driving skill do the rest. A new Wixwacing innovation for this model was to fix the vac formed interior parts with masking tape!! I don't know why I've never done it before
Alfa Giulia images
So a great start to a great model and a very nice model for the shelf one day; but I will race it as often as I can and hopefully it may be a race winner in its own right and be transferred to the top shelf!


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Crystals 101
Rev. Elivia has worked with crystals as friends and helpers for many years. At this crystal workshop you will learn the everyday Basics for working with Quartz Crystals. This crystal workshop will cover everything you always wanted to know about quartz crystals and more! Learn about crystal formations and properties, clearing crystals, programming crystals and crystal communication so that you can use them with ease, confidence and joy! This crystal workshop also includes healing layouts and meditations. Attendees will receive a copy of Elivia's Crystals 101 handbook.
Healing with Crystals
This is a hands-on experiential Crystal workshop on personal healing where you will explore how powerfully our crystal friends can assist to balance and harmonize your human energy body. We will be covering the various stones for each chakras. We'll learn how to do laying on of stones for personal healing and personal grids. Then, with guided meditations and crystal sound, discover how your energy systems, mental, emotional and physical are impacted. There is nothing more powerful that feeling and knowing when it comes to making friends with these dynamic life helpers! Attendees at these Crystal workshops will each receive a copy of Elivia's Healing with Crystals handbook.
Crystal Grids: Co-Creating with the Crystal Kingdom for Prosperity, Love & Health
The Crystal Workhops on using crystal grids is very hands on and participatory. So some with comfortable clothing. Discover how powerful sacred geometry is when combined with crystals. Creating crystal grids in particular geometric forms will build energy fields to support your life and desired goals. Explore the more common forms of crystal grids and physically experience the differences with the assistance of singing crystal bowl meditations. This class will use intention, meditation, sacred geometry, crystals and healing gem stones to build grids for prosperity, love, and health. Learn to Create and Charge your Crystal Grids for: Any part of your life where you feel there is a scarcity, Financial abundance, Success in your Endeavors, Romantic Love, Self-love, Self-esteem, Loving family environment, Friendship, Health and Release from Karmic Issues. Attendees will receive Elivia's handbook on Crystal Grids and a set of full color laminated grids to take home.
Crystal Activation
At these Crystal workshops you'll be using crystals, gems and minerals for Spiritual Development. Discover how to powerfully use crystals and gemstones to open your intuitive centers to see, know, and sense beyond ordinary reality, along with using them to connect with your Angels, Teachers & Guides. In this class students will learn programming crystals, aura clearing, grounding, laying on of stones, crystal grids for spiritual growth, Crystal gazing, & lots more! Attendees will receive Elivia's handbook on Crystal Activation.


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Terrific example of a Pacific triton. Measures 8.5-9"
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Provincetown, MA 02657 | (508) 487-1763


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Good Afternoon, My Dear Friends! I want to profusely thank all of you who are sharing your stories with me and sharing your websites names to add to the Mental Health Meet & Greet list. A new list of websites will be shared on Friday, May 11th. 💚
Together, we can break the stigma that surrounds all things mental health by educating, informing, and sharing our experiences. Our illness does not define who we are. 💚 As a bonus, you get to meet new people and make new friends. I know I have, and I feel very blessed to have read from other bloggers that are fighting with mental illness/disorders. 💚
Please join the Meet & Greet by sharing a bit about yourself, and the full name of your blog site in the comments section of this post. If you'd like to spread the word to others that might be interested in fighting the good fight, reblog the following post.💚
Thank you, for all of you continued support & God Bless each and every one of You! 💚
Beckie 💚


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- Wonderful product Review by SusieQ (Posted on 18/03/2016)
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I have used this beautiful yarn twice for a twin set and a jumper. Both turned our beautifully. My friend was absolutely thrilled with the result as they were a present for her daughter.the yarn is a pleasure to use. Beautiful colours, washes his really well and looks good! What more could you want? Wonderful yarn! I have given up buying yarn for lent and unfortunately won't be able to use this brilliant offer! I am sad to say the least!!!!!
- easy knitting Review by karen (Posted on 03/05/2015)
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Used the Cotton Fifty to knit a vest. It knits up lovely, has a nice weight to the wool which makes it hang nice but not so heavy to wear. It washes like a dream, has been colour fast when washed, no bleeding of the dye. A fav now for summer/spring knits
- Silky smooth Review by Hayley (Posted on 22/08/2014)
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Delivered 2 days after placing order. Gorgeous wool that knits and washes beautifully.
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Rather than fading away or being replaced completely, email marketing is still here and is actually still one of the most effective ways of reaching very broad or very focused audience quickly and easily. While the basics of email marketing may seem obvious, there's always room for improvement. We've put together 8 ways businesses (especially small to medium-sized businesses with more niche products and targeted campaigns) can improve their email marketing efforts.
8 Ways to Improve Your Email Marketing Efforts
- Email preference management
Including preference options on a form or subscription page allows a recipient to choose the types of emails they would like to receive, ultimately helping to cut down on unsubscribes since the content is better tailored to the reader's preference.
- Proper list segmentation
Segmenting your lists also helps with matching messaging to your buyer based on who they are and where they are in the buyer's journey. In fact, 39% of marketers that practice good list segmentation see better open rates. 28% see a lower unsubscribe rate and 24% see better email deliverability (Email on Acid).
- A/B subject line testing
A/B test your subject lines to help improve engagement. Try personalization in your subject lines. You should also avoid words like free that trigger spam filters. Finally, don't forget to keep the message straightforward. Testing a mix of subject lines using best practices will ultimately help you figure out what drives your target audience to open emails.
- Nurture Programs
Nurture programs are a great way to increase email engagement. It often takes several emails on the same subject to elicit a response. Trying a short 4 to 6 week nurture burst and measuring how far people progress through will help you develop more effective campaigns in the long run.
- Responsive emails & pages
In the past quarter, nearly 60% of emails were opened on a mobile device (Marketing Land). This statistic alone shows how imperative response emails are to a successful send.
- Audience tailored newsletter
Educational newsletters are a great way to build rapport with your audience. Avoid product promotions and be a trusted source of knowledge tailored specifically for your audience. Educational newsletters should help tremendously with engagement in future promotional sends.
- Deliverability management
It's an obvious statement but one we're going to make anyway: your email has to hit the inbox in order to have any success. According to Demand Gen Report's 2016 Benchmark Survey, 77% of B2B marketers say email is the top channel for driving leads, making deliverability of those messages essential for success. This means that deliverability is something that should always be monitored and attended to.
- HTML vs. text
There's a time and place for both of these options so it's important to be mindful in which you choose. HTML typically has more of a marketing feel (think newsletters, event invitations, etc.) while text only emails can feel a lot more personalized.
Don't get sent to the trash
With so much focus on digital marketing, email marketing specifically, you don't want to get it wrong. You're business is often competing with hundreds, even thousands of other businesses (B2B and B2C) per day to get a noticed spot in your customer or prospect's inbox. Give yourself a better chance of being seen instead of deleted with these tips.


text: Civil engineers are creators of wealth as their projects stimulate growth for other sectors of the economy. With increased expectations for a higher quality of life, civil engineers are needed to plan and design increasingly complex projects. They also improve infrastructure for sustainable development such as structures that can withstand natural and man-made disasters. Currently, unprecedented growth is being experienced in the design and fabrication of offshore rigs, semi-submersibles and structures with facilities and equipment for the oil and gas industry. The Department of Civil Engineering plays a critical role in transforming students with a good background in physics and mathematics to graduates with a strong competence in structural engineering. We train engineer-leaders with strong fundamentals in civil engineering complemented with a knowledge in management, economics and law.


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Robert had been a world-class surgeon who had pioneered several new surgical procedures and published more than 100 articles in scholarly journals.
He'd also given innumerable lectures at scientific meetings.
That was until Alzheimer's struck.
Custom Search - 25 Tips for Surviving as an Alzheimer's Caregiver
By Marie Marley
Alzheimer's Reading Room
His wife finally had to place him in a memory care facility, where he spent part of each day tearing out strips of paper from magazines. He never tired of it. He was always smiling while doing this, and appeared to be enjoying himself.
But his wife, Anna, was distressed beyond belief to see the formerly brilliant surgeon reduced to tearing strips out of a magazine. She couldn't help but think what a horrible thing it was for him to be doing.
She always dreaded going to visit him because his pastime was so meaningless – or at least it seemed meaningless to her. She often cried all the way home, thinking about everything Robert had lost.
In a word, Anna was not able – and perhaps hadn't even tried – to accept Robert's condition and to be pleased that his magazine activity seemed to make him happy.
Custom Search - Embracing the reality of someone living with dementia
This happens with many caregivers. All they can think about is how much their loved one's mind has deteriorated. All they can say to themselves is "what a pity and a tragedy." They usually don't enjoy visiting and often cry all the way home after visits.
But there is a better approach. An approach that can set you free to experience joy while interacting with your loved one.
The approach is to accept the person just the way they are. To relate to them in their world. To be aware and be happy if they are enjoying their activities.
It's important to focus on what the person still can do rather than on what they can't. It's important to accept their condition, accept the fact that they aren't going to get better, and then go on from there.
Custom Search - Accepting Alzheimers, Coping in Alzheimers World
In my case, my beloved Romanian soul mate of 30 years had been first a successful attorney and later on a Professor of French. The man had been a brilliant scholar, well versed in literature, literary theory and criticism, philosophy, history and on and on. He spoke five languages and could read two more.
When he moved to the Alois Alzheimer Center in Cincinnati, Ohio, I hesitantly took him a little stuffed animal one day. Much to my surprise he loved it! So I subsequently took him more and more animals. He loved each one more than the one before.
I could have looked at this two ways. The first would be to feel it was tragic that such a brilliant man had been reduced to playing with a child's toy. In fact, that's exactly the way one of his close relatives felt about it. They labeled it a horrible tragedy. And they suffered because of it.
But I took the second approach, which was to accept the situation. It was to play with him and the stuffed animals and to feel his joy. It made me feel joyful, too. My approach was so much better than sitting around cursing the disease.
Incidentally, some experts say that you shouldn't give people with Alzheimer's children's toys to play with. But I beg to differ. In my opinion, anything that brings the person joy not only is okay to do, it's essential to do it.
Problems also arise when a loved one doesn't recognize you anymore. Many caregivers consider this a fate worse than death. However, it could be that your loved one enjoys your visits anyway. And that's what matters. Again, if you can truly accept the situation you may find you're feeling joyful just being with the person.
It certainly isn't easy to accept a loved one's decline, but you will probably feel much better if you learn to accept it and learn to love the person despite everything.
Related Content
The Alzheimer's That Wasn't Alzheimer's
What's the Difference Between Alzheimer's and Dementia
The 7 Stages of Alzheimer's
The Ordinary Acts We Perform Each Day Lead to Joy and Happiness
The Alzheimer's Reading Room contains more than 5,000 articles and has been published daily since July, 2009.
You are reading original content the Alzheimer's Reading Room
Acceptance is a person's assent to the reality of a situation, recognizing a process or condition (often a negative or uncomfortable situation) without attempting to change it. The willingness to tolerate a difficult or unpleasant situation.
Joy a feeling of great pleasure and happiness.
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