DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18549#0019
I
A
DESCRIPTION
OF THE
CARTONS of RAPHAEL U R B 1 N.
WHEN a man enters into that awful gallery at Hampton-Court (fays Mr. Richardfon, in
his Efiay on the Theory of Painting), he finds himfelf amongft a fort of people fuperior
to what he has ever feen, and very probably to what thofe really were. Indeed this is (fpeaking
of grace and greatnefs) the principal excellence of thofe wonderful pictures, as it muft be al-
lowed to be that part of painting which is preferable to all others. Thefe inimitable pieces are
called Cartons, from their being executed upon paper; and are nothing more than coloured
drawings, upon a waflied ground previoufly prepared for that purpofe, the fhadows of which
are made by hatching with the point of a large pencil, and the whole are very highly finifhed.
They were originally intended as patterns for tapeftry, and were entirely the work of that great
matter Raphael Urbin. It is almoft impoffible to confider thefe pictures, without fuppofing that,
as the Miraculous Draught of Fillies is the only miracle of our Saviour's to be found among them,
it is more than probable, that what this country now happily poflefles, is but a part of a moft ftti-
pendous work of this great man, and that many more glorious Cartons of the life and miracles
of our Saviour have perifhed in oblivion ; for it can hardly be conceived, that this fingle fubject
could particularly engage the attention of Raphael, among many others which would undoubt-
edly have made better pictures, and been more fuitable to his genius ; and the Carton of Chrift's
charge to Peter, and the regular fucceffion of the acts of the apoftles, feem greatly to confirm
this opinion. However, as it is an argument that probably will not be contefted, and cannot be
proved, it can only be lamented, that perhaps fome accident, or the premature death of that great
mafter*, has deprived the world of an invaluable treafure.
CARTON I.
The Miraculous Draught of FISHES.
And Jefus faid nnto Simon, Fear not, from henceforth thou fhalt catch men. Luke, ch. v. V, 10.
' | HIS was an amazing event ; but as the principal perfons were few, and half of them
J[ neceflarily engaged in the management of their nets, the hiftorical expreffion is confined
to three figures only, which are thofe of our Saviour, Peter, and James. The principal figure
in this picture is Chrift, who is pronouncing the words above quoted, in order to remove the
apprehenfion of Peter, who, in a fine pofture of fupplication, has juft uttered thefe words,
« Depart from me, for I am a finful man, O Lord.' Our Saviour's figure and action are per-
fectly great and graceful; and in his character, divinity, benignity, and tendernefs, are expreff-
cd in the higheft degree, f In Peter's countenance, fear, wonder, and folicitude, are blended in a
moft extraordinary manner, and compofe a character of expreflion worthy of Raphael • % the figure
in the fame boat, fuppofed to be that of James, is alfo finely imagined and drawn; awe
and attention are ftrongly marked in his face, and he feems, by his action, to have acquiefced
in the fupplication of Peter, as acknowledging himfelf unworthy of being the companion of Di-
vinity. |] The reft of the figures, as has already been faid, are chiefly concerned in attending to
• Anno 1520. JEt. 37. f Plate 34. No. L J Plate 34. No. II. || Plate 25. No. II.
their
A
DESCRIPTION
OF THE
CARTONS of RAPHAEL U R B 1 N.
WHEN a man enters into that awful gallery at Hampton-Court (fays Mr. Richardfon, in
his Efiay on the Theory of Painting), he finds himfelf amongft a fort of people fuperior
to what he has ever feen, and very probably to what thofe really were. Indeed this is (fpeaking
of grace and greatnefs) the principal excellence of thofe wonderful pictures, as it muft be al-
lowed to be that part of painting which is preferable to all others. Thefe inimitable pieces are
called Cartons, from their being executed upon paper; and are nothing more than coloured
drawings, upon a waflied ground previoufly prepared for that purpofe, the fhadows of which
are made by hatching with the point of a large pencil, and the whole are very highly finifhed.
They were originally intended as patterns for tapeftry, and were entirely the work of that great
matter Raphael Urbin. It is almoft impoffible to confider thefe pictures, without fuppofing that,
as the Miraculous Draught of Fillies is the only miracle of our Saviour's to be found among them,
it is more than probable, that what this country now happily poflefles, is but a part of a moft ftti-
pendous work of this great man, and that many more glorious Cartons of the life and miracles
of our Saviour have perifhed in oblivion ; for it can hardly be conceived, that this fingle fubject
could particularly engage the attention of Raphael, among many others which would undoubt-
edly have made better pictures, and been more fuitable to his genius ; and the Carton of Chrift's
charge to Peter, and the regular fucceffion of the acts of the apoftles, feem greatly to confirm
this opinion. However, as it is an argument that probably will not be contefted, and cannot be
proved, it can only be lamented, that perhaps fome accident, or the premature death of that great
mafter*, has deprived the world of an invaluable treafure.
CARTON I.
The Miraculous Draught of FISHES.
And Jefus faid nnto Simon, Fear not, from henceforth thou fhalt catch men. Luke, ch. v. V, 10.
' | HIS was an amazing event ; but as the principal perfons were few, and half of them
J[ neceflarily engaged in the management of their nets, the hiftorical expreffion is confined
to three figures only, which are thofe of our Saviour, Peter, and James. The principal figure
in this picture is Chrift, who is pronouncing the words above quoted, in order to remove the
apprehenfion of Peter, who, in a fine pofture of fupplication, has juft uttered thefe words,
« Depart from me, for I am a finful man, O Lord.' Our Saviour's figure and action are per-
fectly great and graceful; and in his character, divinity, benignity, and tendernefs, are expreff-
cd in the higheft degree, f In Peter's countenance, fear, wonder, and folicitude, are blended in a
moft extraordinary manner, and compofe a character of expreflion worthy of Raphael • % the figure
in the fame boat, fuppofed to be that of James, is alfo finely imagined and drawn; awe
and attention are ftrongly marked in his face, and he feems, by his action, to have acquiefced
in the fupplication of Peter, as acknowledging himfelf unworthy of being the companion of Di-
vinity. |] The reft of the figures, as has already been faid, are chiefly concerned in attending to
• Anno 1520. JEt. 37. f Plate 34. No. L J Plate 34. No. II. || Plate 25. No. II.
their