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Raphael Santi and the Adoration of the Shepherds

Raphael Santi (?), Adoration of the Shepherds, 1508

Arguably, fewer items have been more controversial in the works of Raphael, than the Adroation of the Shepherds, as described in the letter of the 5 September 1508, from Raphael to his friend Francesco Raibolini alias Francesco Francia. This letter came first to public knowledge through the publication of it's contents in 1678, by Malvasia (1616–1693) in his book 'Felsina Pittrice'. Malvasia gives a full account of the letter, which he claims to have found among the papers of Count Antonio Lambertini, in Bologna. The existance and contents of the letter have been disputed . The letter describes the delivery of a drawing to Francesco Francia of the 'Adoration of the Shepherds'. A drawing a considered lost or in certain case never to have existed

Provenance

The included, drawing, 359 mm X 502 mm on paper, executed in red-chalk on an underlying metal point sketch has the collector's stamp in the upper right corner. This collectors stamp confirms, with certainty, that this drawing was once part of the collection, which Count Bernardino Ubaldini, in 1667, donated to the library of Urbania, Marche Italy. The collection consisted of a large number of drawings and prints of various quality. The custodians of the library at the time, the religous order of the 'Padri Caraciolini', had pasted the drawings in two different books. The first book in which drawings pasted in was Baldus de Ubaldi's 'Consilia' from 1490. The second volume of the donation included drawings pasted in Alexander Imolensis' 'Consilia', Lione edition from 1549. These two volumes are preserved, although the collection has been dismantled from them .

Signature, "Raphaello Fecit"

The drawing is also remarkable in that it is ‘signed’ "Raphaello fecit" under which an additional illegible word has also been placed. The signature "Raphaello" has been crossed over and a reattribution has been added: "Veneziano". The drawing has a short text on the verso side (of which not all is legible): Nr 32 (collection number of 'Collezione Ubaldini' questo disegno Appartiene a Lambertini prospero….dalla esegui che dicesi esser quello che Raffaello Regalo al Mag. Francia cio é per traduzione(?) di quello che lo stesso esegui)

Verso, Adoration of the Shepherds, possibly ca 1730.

In 1678, when Malvasia publishes his history of painting in Bologna: 'Felsina Pittrice', he includes a transcript of a letter, which he claimed to have seen, sent from Raphael in Rome in 1508 to his friend Francesco Francia in Bologna . In this letter Raphael writes: “In Mean while I send to you by this same messenger, who will be going back in six days, another drawing, viz an ‘Adoration of the Shepherds’ (presepe), which, as you will see, differs very much from the picture I painted, and of which you were kind enough to speak in such favourable terms”. The paining referred to is regarded as lost, while in Bologna, at the request of Bentivoglio. Francesco Filippini, goes into detail in explaining and discussing the dates of Raphael’s visit to Bologna in 1506-1507. The painting is believed lost in a fire of the Bentivoglio estate, when the papal troops invaded Bologna The current drawing was not part of 'Collezione Ubaldini' during great inventory of 1837, and it is currently not known when and why it departed from this important collection. Malvasia, as we deduce from his publication, did not see the Raphael’s drawing, but only the letter referencing it. As Malvasia’s book had been published in 1678, it could be argued that this text, referring to Raphael and the relationship with Francia, is actually a reference to Malvasia's 'Felsina Pittrice'. However the signature of “Raphaello” and the drawing predates 'Felsina Pittrice' by Malvasia, which is a concern if the drawing is based on the facts related in the letter, as the collection was donate already in 1667, 11 year prior to the printing of 'Felsina Pittrice'. Ames Lewis, writes in the case of the final “modello” for the 'Massacre of the Innocents' “The final “modello”, on which these experiments in red chalk were brought together in preparation for the engravers work, is a precise and highly worked and therefore rather impersonal drawing. Marcantonio Raimondo followed almost line for line the pen and ink hatchings, which spread much more consistently over the figures than in earlier compositional drafts. ” Ames – Lewis refers to the final drawing technique of Raphael as “tight and incisive”. Ames Lewis concludes that Raphael’s style in 1508, which serves him the rest of his career in which forms are generated by generic repeated contours, and in which internal modelling is briefly indicated by quick flecks of hatching and deeper shadows by bolder parallel hatched lines.

Garzone

Raphael reused in many of his sketches the staff in his studio as models, so call “garazone” who were not always used in the final versions of the painting. This is quite evident in the'Borghese Deposition' study currently in the British Museum suggested to be from around 1508, in which the draped person carrying the torso of the Christ was not used in the final version. This garzone appears to be in the 'Adoration of the Shepherds' . This specific garzone, identified by his distinct nose and ear, his beard, his hairstyle, and even his clothing. This same garzone seems also to appear also in the Death of Adonis', from ca 1508, in the Ashmoelan museum, carrying the torso of Adonis. The distinct nose is visible, along with the beard and even the head-band. Interesting is however the verso side of this drawing, referred to as the 'Adam Tempted', in which an often uncommented sketch of an infant reclining backward and resting on his left arm, while lifting, what seems to be a drape, or holding the hand of the virgin, with his right arm. Johannides mentions that this child is taken from Bellini’s Madonna with a Sleeping Child (Boston Gardner Museum) . However this small figure also bears however a likeness to the infant Jesus in the 'Adoration of the Shepherds'. In the 'Adoration of the Shepherds', the child has “woken up” and turned its head towards the virgin, who no longer supports his head, she has retracted her hand to her bosom. An addition Garzone is perhaps the Virgin, whos distinct face can be recognized in the 'Madonna of the goldfinch'. The likeness is so striking that it is hard to deny that it would be based on the same person. The reuse of ideas and images was also a distinct trait of Raphael, as Ames-Lewis discusses, Raphael was under enormous pressure and needed to optimized economize within his resources. The reused of figures and Ideas could come many years later, of which Raphael either pulled from sketches or from is memory. The technique used by Raphael is to do a quick preparatory stylus sketch on prepared paper before working in chalk. Raphael reused his figures, accrding to Ames- Lewis: “A figure which he studied carefully for use in one context but the rejected as no longer suitable to the way the design had evolved, may reappear in another similar context.” Such a figure is again the kneeling shepherd, whom Raphael, seems to have converted to the 'lame man', in the 'Healing of the Lame Man', from 1516, as seen in the cartoon, now in the Victoria and Albert Museum. One distinct feature is the barrel around the waist. Such a barrel does also appear in the Metropolitan engraving of the 'Adoration of the Shepherds' by School Marcantonio Raimondo, curisouly attributed to have been engraved in Bologna, but after a design by Raphael.

Influence

The theme of the kneeling shepherd with the barrel is also visible in Titians painting of the The Holy Family with a Shepherd, dated to 1510, currently in the National Gallery of London. Here the kneeling shepherd is on both knees, and supporting himself on one arm. We see further the stance of the shepherd being repeated in Murillos 'Adoration of the Shepherds' dated to 1665-1670, in the Wallace Collection. Note addtional components in similarity. We also see in the 'Adoration of the Shepherds'dateed to 1510, by Giorgione, in the National Gallery of art , Washinngton DC, includes the kneeling shepherd and the shepherd "stepping in" to the scene. The discussed design of the 'Adoration of Shepherds' is interesting as it, instead of the traditional concept, of placing the shepherds in silent adoration of the infant Jesus, this desgin show alomost all the shepherds in some sort of active discourse. The discussions are with eachother and with St Joseph, who also takes and actitive role in the directing of the shepherds. This active role of Joseph can be compared to a comment made by Passavant afteer studying the 13 arcade in the “Loggia of Raphael”, in the Vatican, 'Adoration of the Shepherds': “This is perhaps the only design in which Joseph is in action, he is generally merely a passive spectator” The current design, would preade the loggia, an in this case perhaps be and inspiration to it. The current design seems to have been better known in the 16th and 17th century and a number of artist in their potrayal of the adoration, including the presentation of one kneeling shepherd and one "stepping" into the picture. Compare the work fo Titian, attributed to 'Adoration of the Shepherds' currently in the Pitti Palace and date to around 1533 Also Parmigianino uses a composition of a shepherd stepping into the picture, in his 'Adoration of the Shepherds', 16th century, first from The design is clearly related to the design discussed here. Additionally notable is the posture of the virgin, with her hand on her bossom.

Discussion

The discussed this 'Adoration of the Shepherds', although there are strong indcations of it being of Raphael's design, additional studies need to be made. The active compostion of the design is very different from designs of the period, it can be argued that this is a design wass used by Raphael as a preparation for the 'Raphael Rooms' in the Vatican, as some of the compositions in the 'Adoration of the Shepherds' reoccur in various compositions. It can also be argued that many of the features of this drawing belong to the trais of the earl 16th century. The goldfinchinch, perched in the tree was used by Rapahel in the 'Madonna and the goldfinch'. currently in the Uffizi gallery and dated to 1505-1506. but after the early 16th century the goldfinch does not seem to be used, by Raphael. additionally it can be seen that prior to this design,details of the composition, like the fully kneeling shepherd, the active Joseph, the Madonna with her hand on her bossom, the "stepping in" of the second shepherd, were verually unknown in the design of the 'Adoration of the Shepherds'

January 2017

Hello, and thank you for your contributions to Wikipedia. This is just a note to let you know that I've moved the draft that you were working on to Draft:Raphael and the Adoraton of the Shepherds, from its old location at User:Kummin/sandbox/Raphael and the Adoraton of the Shepherds. This has been done because the Draft namespace is the preferred location for Articles for Creation submissions. Please feel free to continue to work on it there. If you have any questions about this, you are welcome to ask me on my talk page. Thank you. KGirlTrucker81 ^{huh? what I've been doing} 21:01, 30 January 2017 (UTC)

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MatthewVanitas (talk) 21:56, 30 January 2017 (UTC)

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