The midsummer of Italian art . ally hypnotized, while the radiantangel awakes St. Peter in his cell. Then the twoappear again in a passageway, the angel leadingPeter, on whose face there is an expression of piousjoy. There are three noble presentations of Peter:this one by Raphael, Leonardos in his Last Supper,and Tintorettos in his great Crucifixion. Leo-nardos is the genuine Peter, for he has the physiog-nomy of a Jew, and is moreover suggestive of thesaying, On this rock will I found my Church ;but we can never forget the manly solicitude ofTintorettos Peter over the swooning Mary, or theas
The midsummer of Italian art . ally hypnotized, while the radiantangel awakes St. Peter in his cell. Then the twoappear again in a passageway, the angel leadingPeter, on whose face there is an expression of piousjoy. There are three noble presentations of Peter:this one by Raphael, Leonardos in his Last Supper,and Tintorettos in his great Crucifixion. Leo-nardos is the genuine Peter, for he has the physiog-nomy of a Jew, and is moreover suggestive of thesaying, On this rock will I found my Church ;but we can never forget the manly solicitude ofTintorettos Peter over the swooning Mary, or theaspect of grave holiness in the face of is not an ideal, but more like the portrait of aRoman senator, one of the Antonines perhaps. Yetwe admire him for his whole personality rather thanfor any one quality or virtue. It is said to be Raphaels best work in chiaroscuro,the Disputa with its far-reaching landscape comingnext in order. The bright, awakening splendor ofthe angel is contrasted with the peaceful rays of the. POPE LEO X, BY RAPHAEL Uffi-zzi Gallery, Florence RaphaeVs Dramatic Pictures. 249 moon, which seem to invite the prisoner forth intothe fields and groves. It is Raphaels one perfectfresco in the Vatican, and a companion to the un-finished cartoons. Michel Angelo was not the first to endow thedivine image with an athletic figure, as may be seenon the ceiling of the Eliodoro, where in JacobsDream the Almighty appears in a form like that ofan intellectual pancratiast. This, however, does notrecall the Sistine Chapel, as the same presence doesin Raphaels painting of the Burning Bush. Theappearance of God to Noah is treated in a pleasingdomestic manner; and the most interesting of thisseries is the Sacrifice of Isaac, in which a beautifulangel dashes down in full flight to present the sub-stitute of a lamb, while another angel quietly seizesthe upraised arm of Abraham. Here, as in the deliv-erance of Peter, Raphael was in his proper element. CAMERA del INCEND
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Keywords: ., bookauthorstearnsf, bookcentury1900, bookdecade1910, bookyear1911
