The early work of Raphael . alace portalwith attendant pages. The figures are not fortunate. Indeed, theylook like what they are—men and women of the seventeenth centuryplaying in a classical charade. But for us the interest of the picturelies not, itrthe personages nor in the stately palaces of the most approvedclassic architecture, overshadowed by spreading trees, but in the cloud-flecked sky, iridescent with the light of a sun new risen and still partiallyveiled by the morning mist, in the blue waters—barred with a streakof silver light—whose wavelets come lapping up against the galleysand
The early work of Raphael . alace portalwith attendant pages. The figures are not fortunate. Indeed, theylook like what they are—men and women of the seventeenth centuryplaying in a classical charade. But for us the interest of the picturelies not, itrthe personages nor in the stately palaces of the most approvedclassic architecture, overshadowed by spreading trees, but in the cloud-flecked sky, iridescent with the light of a sun new risen and still partiallyveiled by the morning mist, in the blue waters—barred with a streakof silver light—whose wavelets come lapping up against the galleysand the marble quays. Claudes reputation was not limited to Rome. Orders soon began tocome to him from beyond the Alps. As early as 1644 we find himpainting a picture for England, the exquisite little landscape, introducingthe fable of Echo and Narcissus, which now hangs in the NationalGallery. Many of his works at this period were executed, as the LiberVeritatis shows, -pour Paris, or for French patrons. Amongst them was.
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Keywords: ., bookcentury1800, bookde, booksubjectraphael14831520, bookyear1895
