. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. at and magnificent, and theother poor and trifling; the reason is fine and uncommon. I say, then, that to introduce intoarchitecture this grandeur of manner, we ought so to proceed, that the division of the principalmembers of the order may consist but of few parts, that they be all great, and of a bold and amplerelievo and swelling ; and that the eye beholding nothing little and mean, the imagination may bemore vigorously touched and affected with the work tha
. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. at and magnificent, and theother poor and trifling; the reason is fine and uncommon. I say, then, that to introduce intoarchitecture this grandeur of manner, we ought so to proceed, that the division of the principalmembers of the order may consist but of few parts, that they be all great, and of a bold and amplerelievo and swelling ; and that the eye beholding nothing little and mean, the imagination may bemore vigorously touched and affected with the work that stands before it. EDUCATION OF TIIU EVE. 4ii which I found amongst the collections of drawings left to Christ Church,Oxford, by General Guise, seem to confirm this observation. Thememorandums are written upon the side of sketches illustrative of theremarks, one of which I have given in Plate hi. containing the groundplan, also the figures seen under the influence of perspective; the other,showing a circular arrangement of figures, such as we see in the lowerpart of the Transfiguration, and in the Death of Ananias ; viz. To Dr. Barnes, of Christ Church, I am indebted for the very greatinterest he took in enabling me to procure copies of any of the the translation of the memorandums, and remarks upon the designs, I 44 AN ESSAY ON THE am indebted to the kindness of C. L. Eastlake, Esq. R. A., whose intimateknowledge of the compositions of Raffaelle must give his observationsadditional weight21. Independent of forms in composition most suitable to the subject, andarranged in the most natural manner, it is of the first consequence that the 21 Translation of the memorandum on the side of the sketch representing circular compo-sition :— It is to be observed, that the first thing to be considered in an historical composition iswhere the point (id est, the spectator or spectators eye) is to be placed, whether in the middle ofthe work or on one side, and so to de
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Keywords: ., bookcentury1800, bookdecade1830, booksubjectpainting, bookyear183
