. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. Second, whose zeal and authority is represented in Onias. He appears in a litter,borne by his grooms, in the manner in which he was accustomed to repair to the Vatican to viewthis work. In these heads Raffaelle has given the portraits of his pupils M. Antonio and JulioRomano, with the Popes secretary, &c. For this anachronism Raffaelle has been blamed by thecritics, without considering that it was the only way the painter had of connecting the Jewish withthe Ch
. A treatise on painting : In four parts ... The whole illustrated by examples from the Italian, Venetian, Flemish, and Dutch schools. Second, whose zeal and authority is represented in Onias. He appears in a litter,borne by his grooms, in the manner in which he was accustomed to repair to the Vatican to viewthis work. In these heads Raffaelle has given the portraits of his pupils M. Antonio and JulioRomano, with the Popes secretary, &c. For this anachronism Raffaelle has been blamed by thecritics, without considering that it was the only way the painter had of connecting the Jewish withthe Christian church, and exemplifying the temples of both as the sacred depositories for thosefunds which were to be given out to the widow and the orphan poor. Without detracting from thegreat merit of Raffaelle, we may rest assured that these works were of too much importance not tobe watched with the greatest vigilance, and assisted in their moral efficacy by all the learningwithin the walls of the Vatican. Those who wish to see how close Raffaelle often kept to thehistory, may examine the whole story in 2 Maccabees, chap. EDUCATION OF THE EVE. 55 first instance, without reflecting how the parts which come in contactwith the ground will appear when terminated according to their trueposition in the picture. A knowledge of arrangement enables us yet further to heightenthe gratification of the spectator, by engrafting upon the work thoseforms found in the compositions of the most celebrated artists. Thisknowledge it is which enables the poet to give so pleasing and vividdescriptions of scenery, often gratifying the imagination more than anactual survey of the scene he describes; as Addison remarks, he takesindeed the landscape after her, but gives it more vigorous touches,heightens its beauty, and enlivens the whole piece, that the images whichflow from the objects themselves appear weak and faint, in comparison ofthose that come from the expressions. A knowledge of arrangement
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Keywords: ., bookcentury1800, bookdecade1830, booksubjectpainting, bookyear183
