The midsummer of Italian art . ld be the most that Raphael couldhave given occupation to at once; and even thesewere more than a just regard for honest art couldhave warranted. A wealthy Fleming, having learned that Rubensscholars assisted him in the execution of his pictures,requested to have one painted wholly by his ownhand, offering to pay an unusual price for it on thataccount. Rubens declined his offer, because heconsidered it would be a waste of time, and explainedto the gentleman that there was an intermediatestage in the painting of a picture which did notrequire so much skill as its
The midsummer of Italian art . ld be the most that Raphael couldhave given occupation to at once; and even thesewere more than a just regard for honest art couldhave warranted. A wealthy Fleming, having learned that Rubensscholars assisted him in the execution of his pictures,requested to have one painted wholly by his ownhand, offering to pay an unusual price for it on thataccount. Rubens declined his offer, because heconsidered it would be a waste of time, and explainedto the gentleman that there was an intermediatestage in the painting of a picture which did notrequire so much skill as its beginning and comple-tion; and that his pictures would not be better ifhe painted every stroke upon them. The Rubenshall in the Pinacothek at Munich is a glorious is every variety of painting in it, from a smallgenre picture to the largest historical composition;and it is difficult to decide which is the most perfectlyfinished or best represents the style of the master. If the same could be said of Raphaels work in. THE VIOLIX PLAYER, by RAPHAELGaUeria S. Luca, Rome RaphaeTs Dramatic Pictures. 231 the Vatican, it would be more to the advantage ofhis fame and to our enjoyment when we go can be no doubt that he employed too manyassistants and often gave insufificient attention towhat they were doing; the second evil being a ne-cessary consequence of the first. Even the drawingwould not always seem to have been his own, andwhile he finished some figures with a great deal ofcare, others were only slightly touched by him, orneglected altogether. While the general style of hispainting pervades the whole series, there is too muchof an inequality in the details. Sometimes hispupils imitated him and sometimes Michel Angelo,and their attempt to give his spiritual expression ofcountenance often resulted in an anomaly which wasbeyond the skill of Raphael to remedy. An in-stance of this may be noticed in the two angels whosupport the robes of a pope, who is said to b
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Keywords: ., bookauthorstearnsf, bookcentury1900, bookdecade1910, bookyear1911
