| Raphael's Blank Modello Tapestry | |
|---|---|
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Origin |
Raphael |
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Type |
Preliminary Model Artwork |
|
Effects |
Covers amenable items in perforations that reinforce strength |
|
Downsides |
Segments outlines of antagonists, causing them to disintegrate apart |
|
Activation |
Leadership position in an artistic enterprise |
|
Collected by |
Warehouse 11 |
|
Section |
|
|
Date of Collection |
November 29, 1746 |
| [Source] | |
Origin[]
Raffaello Sanzio da Urbino (March 28 or April 6, 1483 – April 6, 1520) was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, and visual achievement of the Neoplatonic ideal of human grandeur. Together with Leonardo da Vinci and Michelangelo, he forms the traditional trinity of great masters of that period.
Raphael was enormously productive, running an unusually large workshop and, despite his early death at 37, leaving a large body of work. His career falls naturally into three phases and three styles, first described by Giorgio Vasari: his early years in Umbria, then a period of about four years (1504–1508) absorbing the artistic traditions of Florence, followed by his last hectic and triumphant twelve years in Rome, working for two popes and their close associates. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, and the largest, work of his career. The best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome, much of his work was executed by his workshop from his drawings, with considerable loss of quality. He was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking.
Tapestries[]
One of his most important papal commissions was the Raphael Cartoons (now in the Victoria and Albert Museum), a series of 10 cartoons (mockup prototypes) of which seven survive, for tapestries with scenes of the lives of Saint Paul and Saint Peter, for the Sistine Chapel. Raphael was highly conscious that his work would be seen beneath the Sistine Chapel ceiling, and took great care perfecting his designs, which are among his largest and most complicated.
Raphael 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 planning a composition, he would lay out a large number of stock drawings of his on the floor. When complete, 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.
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. 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 and are in general in very good condition apart from some fading of the colors. It is possible that Raphael saw the finished series before his death—they were probably completed in 1520
Effects[]
Places dashed lines across any object or person the user finds of worthwhile notice. They slightly burrow beneath the surface and reinforce the exterior from the inside, making anything fortified to external change. It also accentuates previous strengths, making one have a stronger glow to aura-sensitive individuals.
For those they deign a nuisance or rival, not necessarily enemy, the lines will scramble and cover the borders of their figure. It will slowly dissolve the outlines to weaken them to external damage more than normal. Once broken their form will leak out and they unravel apart having lost the outline holding their image together. It can be stopped with adhesives to keep their shape in place, but requires acceptance of the user to be reversed fully. [[Category: Warehouse 11