The art of the Vatican; a brief history of the palace, and an account of the principal works of art within its walls . uton the steps to the right of the centre, with suchastonishing compositional effect, is , on the platform, to the left of Plato isclearly recognised the pugnacious face of whatever or whoever they may be, it is theway one part is connected with another; the grada-tions by wlhich the sight is carried along to the cen-tral point of focus; the individual grandeur of thefigures and the splendid lines of drapery; the swing-ing poses; the difficult foresh
The art of the Vatican; a brief history of the palace, and an account of the principal works of art within its walls . uton the steps to the right of the centre, with suchastonishing compositional effect, is , on the platform, to the left of Plato isclearly recognised the pugnacious face of whatever or whoever they may be, it is theway one part is connected with another; the grada-tions by wlhich the sight is carried along to the cen-tral point of focus; the individual grandeur of thefigures and the splendid lines of drapery; the swing-ing poses; the difficult foreshortening; the infinitevariety of movement and position that make an over-whelming impression. The spirit which pervadesthe School of Athens is that of Giotto, Ghirlandajo,Leonardo, and Michelangelo; Tempering these areRaphaels own innate nobleness and grace, and hisconstant appeal from the ideal and classic to all these qualities into his picture, heexhibits as additional elements of charm, a broaderstyle of execution, a most striking balance of lightand shade and a greater richness of harmonious. PORTRAIT OF RAPHAEL AND PERUGINODetail from School of Athens, by Raphael; in the Stanze Ube Stanse of IRapbael 163 colour than he had hitherto attained in his practiceof fresco. The surface of the School of Athenshas been badly hurt by abrasion and discolouration;the architecture has faded to such a degree that someof the reliefs are almost indistinguishable. A longfissure cuts right through the head of Diogenes. Astill longer one strikes through the whole pictureand divides the figure of the two philosophersascending and descending the steps. Filling one of the window ends of the Camerais the Parnassus. It thus forms a semicirculardesign with a square hole cut from its centre by thewindow. Apollo is directly over this opening,seated on a rocky rise, from which a spring gushesout, ending in a pool at his feet. The golden-haired,laurel-crowned youth is nearly full face
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Keywords: ., boo, bookcentury1900, bookdecade1900, booksubjectart, bookyear1903
