. The art of the Italian renaissance; a handbook for students and travellers. Never since has the storv been told soI ?— .simply and so inipi-e^- T^ ndivcnmce .a St. l\fcr; ^si\ely. ? There is a picture of the Deliverance of Peter by Domenichino, -i^hich is uni\ersall\-known, for it hangs in the clun-ch wliere the holv chains are pjreserved,in S. Pietro in \incoli. There too the angel is bending down and grasp-ing Peter bv the shoulder. The old man awakes and starts back in terror at the apparition. A\^hv dix] Raphael |-epresent him sleeping.^ JBecause only tlius_cwil(I_h
. The art of the Italian renaissance; a handbook for students and travellers. Never since has the storv been told soI ?— .simply and so inipi-e^- T^ ndivcnmce .a St. l\fcr; ^si\ely. ? There is a picture of the Deliverance of Peter by Domenichino, -i^hich is uni\ersall\-known, for it hangs in the clun-ch wliere the holv chains are pjreserved,in S. Pietro in \incoli. There too the angel is bending down and grasp-ing Peter bv the shoulder. The old man awakes and starts back in terror at the apparition. A\^hv dix] Raphael |-epresent him sleeping.^ JBecause only tlius_cwil(I_he_xxpLix;ja__thii_pimLi_lXMgna^ of the j^:,for fear is an_emotion commmito tlK_good^ ail^1 the Ijad. Domenichinoattempted foreshortening, and the effect is distin-bing. IJaphael jjainteda simple full-length hgure, and the etfecti^ reposeful and (piiet. InUomenichinos picture again there are two Awarders in the prison, theone lying on the floor, the other leaning against the wall. A\itli tlieirobtrusive movement and their carefully executed heads, thev claim. 108 THE ART OP THE ITALIAN RENAISSANCE attention as insistoiitlv as the chief figures. A\hat delicate discrimina-tion Raphael shows here ! His warders lilend into the Mall, they aremerely living adjuncts to the walls, and we do not retjuire to noticetheir coarse features, in which we take absolutely no interest. It needhardly be said that Kapliael aYoids_,_all_LLetaILin the di-a\\-ing oL-tbeprison--\yalls. In the Edh fr(»ii the Pr/.wn, which earlier art used to represent as thekernel of the story, Peter was always represented in the act of talking withthe angel. Kaphael renuanbered the words of the text: he went out as if ina dream. The angel leads him by the hand, but he does not see the angeljhe does not look at theoioiicLL staring into \ widely opened e\es,he walks_a\^ay llke„a__drc;iiiier. The impression is greatly enhanced bythe A\ tigure_emcTge^^froni the darkness, partly h
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