Document Analysis The Marriage of the Virgin Essay

I have chosen The espousal of the Virgin as a document analysis because I want to contrast this action with works of Perugino, especially Christ giving the Keys to St Peter (1481-1482) and likewise The Marriage of the Virgin (1500-1504). Raphael was commissi adeptd to produce the work by the Albizzini family of Citta di Castello (scala 8) for the chapel of St Joseph in the Church of San Francesco. In comparison to the two works of Perugino the similarities are well recognised. However although we gouge date Peruginos precedent work in the midst of 1481and1482, his Marriage of the Virgin can only be dated from among 1500 and 1504. Raphael helpfully named himself and dated his work in the middle of the temple and so we know definitely it was finished in 1504, so although it would seem likely, one should be cautious to date Peruginos Marriage of the Virgin earlier than Raphaels.In 1504 Raphael was twenty one years old and was still an scholar in the school of Perugino,and he ex ecuted it prior to his stay in Florence, and so it is natural to assume his work was still greatly influenced by his master. The painting has significant parallels with the Christ giving the Keys to St Peter in the Sistine Chapel. As in the earlier fresco, Raphael uses the same structural format. The marquise is the dominating cardinal focus which gives the depth of the scene in relation to the figures of the foreground. The figures between the pavilion and the frontal scene is proportional in sizeand shows Raphaels say-so in the use of perspective. The landscape shows the influence of Perugino, the viewer whitethorn get hold a sense of tranquility and stillness which one may also familiar with the actual landscapes of Umbria, and speaking from experience I certainly did.When look in detail at the figures in the foreground one can see the influence of Perugino inside the faces of the characters. The faces of the ladies and indeed the men either human face of the Joseph and Ma ry all have the serene, graceful and introspective qualities one would associate with Perugino. The ladies with their small mouths seem hard to differentiate from Peruginos own figures.From these similarities it may be said that at this time Raphael was truly a disciple of Perugino and Painter in his style.Although there is much to associate Raphael with the school of Perugino within this painting, there can also be seen that within the work Raphael has started to black market away from his masters style and also out-master the masterBruno Santi in Raphael, The colossal Masters of Art (p10) writes of Raphaels superiority in the use of perspective in comparison to Perugino. He cites Peruginos fresco in the Sistine chapel is developed horizontally which is characteristic of the Quattrocento whereas Raphael uses a well developed orbitual composition. The temple in Raphaels representation is a polygonal construction seemingly more complex than Peruginos temple but absolutely portra yed and gives one a sense of Raphaels complete corporate trust of the new architectural designs which were emerging through people such as Bramante and Da Vinci and it has been argued that their influence can be seen in this work.