DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.18549#0028
2G
A DESCRIPTION OF THE
greater distance, and are reprefented fitting. But the gigantic ftatue of Mars, which is introduced
with great propriety, is of infinite fervice to the picture; it is placed beyond the outermoft figures
of the fecond groupe ; therefore the diftance of this ftatue being considered, and the height and
bulk of it compared with the figure of the apoftle, it will be found to reduce the laft to a moderate
fize, and alfo ferves admirably, by its magnitude, to balance that fide of the picture.
Among a great variety of fine characters in this picture, next to that of the apoftles, is that of
the man who is afcending the fteps, in whofe countenance awe and reverence are finely blended*;
nor need the mod common obferver be told* that this man and the woman behind him are intended
to reprefent Dionyfius and Damaris-f, who, we are informed by the hiftory, were converted.
The expreffion of extreme attention in the three figures neareft to Dionyfius in the fecond
groupe, is moil: admirably defcribed X > nor is triat of the man in the fame groupe, who
preffes his lips with his finger, lefs to be admired ||. The three figures behind the apoftle,
who are apparently difpleafed with his difcourfe, are finely invented §, particularly that of him
who is fitting and refts his chin upon his hand ; in his character envy and malignity are finely
defcribed **<
Leonardo da Vinci, in his treatife upon Painting, has given it as a precept, that 4 In grave
* and ferious compofirions, when afiemblies arc held, and matters of importance debated, let but
* few young men be prefent; it being contrary to cuftom to intruft affairs of this nature in the
* hands of youth, who are not lefs able to give council, than they are willing to receive it;
* and who, therefore, have two reafons for abfenting themfelves from thefe kinds of meetings ff.'
This precept is no where better illuftrated than in this Carton, where there is a wonderful ex-
preffion of attention, decorum and gravity, in the old men; and, on the contrary, the few young
perfons who are introduced in the picture appear froward, impatient, and impetuous, and con-
tempt and diflike are ftrongly expreffed in each of their characters; for which reafon part of thefe
turbulent perfons are judicioufly thrown into the moft diftant groupe, and others are placed,
behind the older men
In the diftance between the buildings, in the centre of the picture, are feen two figures, who
appear to be talking together, and feem to be of no confequence to the composition, but their
ufe is great: they not only ferve to break the straight line made by the heads of thofe who are
fitting, as alfo the parallel lines made by the columns of the temple and the adjacent piazza, but
connect the principal and two fubordinate groupes together; and without them the picture muft
have fuflered considerably.
The attitudes of the figures are extremely fine and expreflive ; the draperies noble and well
caft, particularly that of the apoftle, which is admirably defigned. The architecture is elegant,
not rich, but fuitable to the tafte of the Athenians, and properly adapted to the picture ; as is the
diftant view of the country, it being cuftomary for them to place the ftatue of Mars, as the
guardian of the city, at the entrance into it.
Upon the whole, it may not be improper to conclude, with comparing the ideas of two
fuch great painters as Raphael and Leonardo da Vinci in fimilar subjects, by the following
extract from the Writings of the latter, who, in defcribing the manner in which a public
oration fhould be reprefented, fays, * To reprefent a perfon haranguing a multitude, confider,
* in the firft place, the fubject matter on which he is to entertain them, in order to give
* him an action fuitable to the occafion; for inftance, if the bufinefs be to perfuade, let it
4 appear in his geftures; if it be to argue and deduce reafons, let him hold one of the
* fingers of his left hand between two ot thofe of the right, keeping the other two /hut; let
' his face be turned to the afiembly, and his mouth half open, fo as that he may appear to
1 fpeak ; if he be fitting, let him feem as about to rife, advancing his head a little forwards ;
4 if he be reprefented ftanding, let him recline a little with his head and bread towards the people;
' and let the afiembly be feen liftening with filence and attention; let all their eyes be faftened
* on the fpeaker, and let their actions difcover fomewhat of admiration ; let fome old man be feen
« wondering at what he hears, with his mouth fhut, his lips drawn clofe, wrinkles about the
4 corners of his mouth, the bottom of his cheeks, and in the forehead, occafioned by the eye-
* brows, which muft be raifed near the fetting on of the nofe; let others be reprefented fitting,
* Plate 37. No. If. f Plate 1. No. I. % Plate 19. No. I. Plate 24. No. I. and II. Plate 25. No. I,
|| Plate 36. No. II. § Plate 33. No. II. Plate 38. No. II. *• Plate 17, No. I.
See the Tranflation, printed at London, 1721.
Xt Plate 20. No. II. Flate 30. No. I. Plate 41. No. II. Plate 4?.. No. I. and II.
1 * with
A DESCRIPTION OF THE
greater distance, and are reprefented fitting. But the gigantic ftatue of Mars, which is introduced
with great propriety, is of infinite fervice to the picture; it is placed beyond the outermoft figures
of the fecond groupe ; therefore the diftance of this ftatue being considered, and the height and
bulk of it compared with the figure of the apoftle, it will be found to reduce the laft to a moderate
fize, and alfo ferves admirably, by its magnitude, to balance that fide of the picture.
Among a great variety of fine characters in this picture, next to that of the apoftles, is that of
the man who is afcending the fteps, in whofe countenance awe and reverence are finely blended*;
nor need the mod common obferver be told* that this man and the woman behind him are intended
to reprefent Dionyfius and Damaris-f, who, we are informed by the hiftory, were converted.
The expreffion of extreme attention in the three figures neareft to Dionyfius in the fecond
groupe, is moil: admirably defcribed X > nor is triat of the man in the fame groupe, who
preffes his lips with his finger, lefs to be admired ||. The three figures behind the apoftle,
who are apparently difpleafed with his difcourfe, are finely invented §, particularly that of him
who is fitting and refts his chin upon his hand ; in his character envy and malignity are finely
defcribed **<
Leonardo da Vinci, in his treatife upon Painting, has given it as a precept, that 4 In grave
* and ferious compofirions, when afiemblies arc held, and matters of importance debated, let but
* few young men be prefent; it being contrary to cuftom to intruft affairs of this nature in the
* hands of youth, who are not lefs able to give council, than they are willing to receive it;
* and who, therefore, have two reafons for abfenting themfelves from thefe kinds of meetings ff.'
This precept is no where better illuftrated than in this Carton, where there is a wonderful ex-
preffion of attention, decorum and gravity, in the old men; and, on the contrary, the few young
perfons who are introduced in the picture appear froward, impatient, and impetuous, and con-
tempt and diflike are ftrongly expreffed in each of their characters; for which reafon part of thefe
turbulent perfons are judicioufly thrown into the moft diftant groupe, and others are placed,
behind the older men
In the diftance between the buildings, in the centre of the picture, are feen two figures, who
appear to be talking together, and feem to be of no confequence to the composition, but their
ufe is great: they not only ferve to break the straight line made by the heads of thofe who are
fitting, as alfo the parallel lines made by the columns of the temple and the adjacent piazza, but
connect the principal and two fubordinate groupes together; and without them the picture muft
have fuflered considerably.
The attitudes of the figures are extremely fine and expreflive ; the draperies noble and well
caft, particularly that of the apoftle, which is admirably defigned. The architecture is elegant,
not rich, but fuitable to the tafte of the Athenians, and properly adapted to the picture ; as is the
diftant view of the country, it being cuftomary for them to place the ftatue of Mars, as the
guardian of the city, at the entrance into it.
Upon the whole, it may not be improper to conclude, with comparing the ideas of two
fuch great painters as Raphael and Leonardo da Vinci in fimilar subjects, by the following
extract from the Writings of the latter, who, in defcribing the manner in which a public
oration fhould be reprefented, fays, * To reprefent a perfon haranguing a multitude, confider,
* in the firft place, the fubject matter on which he is to entertain them, in order to give
* him an action fuitable to the occafion; for inftance, if the bufinefs be to perfuade, let it
4 appear in his geftures; if it be to argue and deduce reafons, let him hold one of the
* fingers of his left hand between two ot thofe of the right, keeping the other two /hut; let
' his face be turned to the afiembly, and his mouth half open, fo as that he may appear to
1 fpeak ; if he be fitting, let him feem as about to rife, advancing his head a little forwards ;
4 if he be reprefented ftanding, let him recline a little with his head and bread towards the people;
' and let the afiembly be feen liftening with filence and attention; let all their eyes be faftened
* on the fpeaker, and let their actions difcover fomewhat of admiration ; let fome old man be feen
« wondering at what he hears, with his mouth fhut, his lips drawn clofe, wrinkles about the
4 corners of his mouth, the bottom of his cheeks, and in the forehead, occafioned by the eye-
* brows, which muft be raifed near the fetting on of the nofe; let others be reprefented fitting,
* Plate 37. No. If. f Plate 1. No. I. % Plate 19. No. I. Plate 24. No. I. and II. Plate 25. No. I,
|| Plate 36. No. II. § Plate 33. No. II. Plate 38. No. II. *• Plate 17, No. I.
See the Tranflation, printed at London, 1721.
Xt Plate 20. No. II. Flate 30. No. I. Plate 41. No. II. Plate 4?.. No. I. and II.
1 * with