. The art of the Italian renaissance; a handbook for students and travellers. The Traii^fiyiiratiMii, li\ (\.iii Bellini. Lord and His companions the threo prostrate figures of the dazzleddisciples. But there was an earlier, more ideal scheme, according to whichChiist did not stand on the groinid, but was represented in a nimbusraised aliove the earth. Perugino had painted the scene thus in theCambio at Perugia. Bv this device the picture certainly gained much inform, but with Kaphael there can have ])een from the first no question asto which type ho should choose. His heightened percepti
. The art of the Italian renaissance; a handbook for students and travellers. The Traii^fiyiiratiMii, li\ (\.iii Bellini. Lord and His companions the threo prostrate figures of the dazzleddisciples. But there was an earlier, more ideal scheme, according to whichChiist did not stand on the groinid, but was represented in a nimbusraised aliove the earth. Perugino had painted the scene thus in theCambio at Perugia. Bv this device the picture certainly gained much inform, but with Kaphael there can have ])een from the first no question asto which type ho should choose. His heightened perception felt the needof the miraculous. He found the gesture i)f the outspread arms alreadyexisting, but the fl((i-44it expression (>f-^wpt44«.j-xu)uId^ from any soiu-ce Attracted by the action of fliglit, iVIosesand Elijah follow the Clnist, turning towards Him and dependent on is the source of their strength and the centre of the light. Theothers only approach the l)orders of tiie radiance which surrounds the RAPHAEL 18! I. Fragment fruui the Transtiguratinii, liy L!;qiliae[. Saviour. Tliejliscij:) beneath complete the circle. Raphael drew themon a niucli smaller .scale, .so as to coniTect__them closely nith the are no longer separateJjidepeudent persQrLali±ies,-5\hich. distract ±heattention^ They seem essential components of tke- circle -_w:hicJv ^hetransfigured Lord has dra\ i-ound Him, and it is bv contrast ^\•ith these circumscribed fonns thgj_ fh* T^nHff; ^^[ilrp [•??flin^ thfi—^tSC-effeet-—of freedom and emaiicTpation. If Raphael had becjueathed nothing to the world but this group, it would be a complete monument of art as heconceived it.^ The feeling for proportion and arrangement was soon completely dulled in theBolognese Academician.^, who to continue the of the , haranguing the from the clouds, squeezed in between the sprawling seatedfigures of Mo
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