. The art of the Italian renaissance; a handbook for students and travellers. iia dense__mass. from which Peteii_einero:es but slightly. But what a we;ilthof_vari£d PYj-tression animates thi-i_ai>w(L! TLe_Uiiaxcat_disciples. attracte_dby thejadiaui fitj-ure of Jesus, feast their eyes on Him, ready to fall, likePei£r, n their knees, lliyj_J±iiiLtiJ^L_Qjiesitatkni,_a-tecl^^ cTf^doubt, aca^itingjjL!^ glMiees^aiuLtheJast hold back in pronounced distrust^It is the risen Christ who has appeared to the disciples, and has spokento them ; Init is it-really He or is it a spirit . Itaphaehs conception
. The art of the Italian renaissance; a handbook for students and travellers. iia dense__mass. from which Peteii_einero:es but slightly. But what a we;ilthof_vari£d PYj-tression animates thi-i_ai>w(L! TLe_Uiiaxcat_disciples. attracte_dby thejadiaui fitj-ure of Jesus, feast their eyes on Him, ready to fall, likePei£r, n their knees, lliyj_J±iiiLtiJ^L_Qjiesitatkni,_a-tecl^^ cTf^doubt, aca^itingjjL!^ glMiees^aiuLtheJast hold back in pronounced distrust^It is the risen Christ who has appeared to the disciples, and has spokento them ; Init is it-really He or is it a spirit . Itaphaehs conception of thetjreme is to show hoAiiJJieJiiJiiig_jrfj:onyhiion graduall\- steals p\er,tbifi 1 Was it an instinct of style that made Raphael reciuivo some solid object in the fore-ground ? Botticelli, too (/;//•//, of Vniiix), did not bring the water up to the edge of lliepicture. The Cnliil,,, is an instance to the contrary, but a fresco is not bound ))y\lic sameconditions. The latter was at any rate Raphaels original idea. RAPHAEL. i^ioup, how first tlie foreniost iiieiiihers ;irc iitlrntitcd, u:lil]j tln nunv rfniotcones remain unmoved. Thiji_(A)rice2rl:i()n re(|uiix>i_miicli pouer of psyflio- Jogi«U—taqiLiejsion,. and was (|uite hevoud the eapaeities of the eldergeneration.^ Perugino shows Christ in the middle of the pieture and the b\standerssynnnetrieallv distributed on either side, hut in Raphaers cartoon Christstands al()iie__facino- the otliers. He does not turn tt)wards them, Init ispassing bv them. The disciples only see Him from one side. In anotherinstant He will be there no longer. He_Js_jLhjLOly figure \\hich reflectsthe Ikl iroad surfaces. The others ha\e the light against HtaJing of the Ldiiie Man. The spectator looking at this picturealways begins by incjuiring the meaning of the great twisted colunms. Herecalls the halls of the Quattrocento, those transparent structures, andcannot comprehend how Raphael arrived at the elephantine forms Avhichare
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Keywords: ., bookcentury1900, bookdecade1900, books, booksubjectartrenaissance
