Tea at Trianon: Raphael and the Pursuit of Sublime and Heavenly Beauty

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Wednesday, May 13, 2026

Raphael and the Pursuit of Sublime and Heavenly Beauty

The Alba Madonna

From Word on Fire:

Raphael’s drawings clearly show that the young artist learned quickly and adapted to the rapid artistic developments occurring during the Renaissance. Leonardo and Michelangelo’s influence becomes apparent in the motion, arrangement, and anatomical accuracy that began to characterize the figures in Raphael’s sketches, which he referenced for his paintings. The progression of his technique reveals that Raphael was a man who strove for perfection—and many would argue that he achieved it to the greatest extent possible within the realm of human capabilities.

Raphael’s continual refinement of his skills in the chase after excellence didn’t stop there. He went to Rome in 1508, becoming the court artist for Pope Julius II (r. 1503–1513) and Pope Leo X (r. 1513–1521). He made drawings of the ancient monuments in the city to learn the ins and outs of classical architecture. This knowledge proved useful for the School of Athens, a fresco that Raphael made for a four-part series in the Stanza della Segnatura in the Apostolic Palace.

We’ll never know how much further Raphael could have gone in his endeavors. Raphael did not enjoy the longer lives of his contemporaries, whose artwork had such a noteworthy impact on him; Michelangelo and Leonardo died at 88 and 67 years of age, respectively. Raphael left this world at 37, making the progression of his artistic career even more remarkable than theirs, at least in regard to time. In 1520, he completed what became his last masterpiece: The Transfiguration, a stunning example of his masterly orchestration of light, color, and human bodies to create a dramatic scene. (Read more.)