CARTOONS OF RAPHAEL URBIN,
CARTOON VII.
tkUL PREACHING AT ATHENS.
Then Paul stood in the midst of Mars-hill, and said, Ye
men of Athens, I perceive that in all things ye are too
superstitious: for as I passed by, and beheld your devo-
tions, I found an altar with this inscription, to the
unknown god; whom, therefore, ye ignorantly wor-
ship, him declare I unto you.—Acts, chap. xvii. ver. 22,
23.
If invention, expression, design, variety, and decorum,
are allowed to constitute a fine historical composition,
this cartoon certainly deserves the character it has long
maintained, of being one of the greatest performances of
Raphael,
This fine picture is divided into three groups ; the first
of which is composed of four figures, among whom the
apostle is eminently distinguished, as indeed he is from
every other in the picture ; his situation being so ex-
tremely remarkable, that he is shewn to the greatest
advantage that can possibly be conceived. The man who
is about to ascend the steps, the woman behind him, and
eight other figures, who are represented standing, com-
pose the second group; and the third is formed by six
persons who are sitting: this last is placed between the
first and second, nearly in the centre of the picture.
The character of Paul is universally allowed to be the
most sublime performance that ever was produced by the
CARTOON VII.
tkUL PREACHING AT ATHENS.
Then Paul stood in the midst of Mars-hill, and said, Ye
men of Athens, I perceive that in all things ye are too
superstitious: for as I passed by, and beheld your devo-
tions, I found an altar with this inscription, to the
unknown god; whom, therefore, ye ignorantly wor-
ship, him declare I unto you.—Acts, chap. xvii. ver. 22,
23.
If invention, expression, design, variety, and decorum,
are allowed to constitute a fine historical composition,
this cartoon certainly deserves the character it has long
maintained, of being one of the greatest performances of
Raphael,
This fine picture is divided into three groups ; the first
of which is composed of four figures, among whom the
apostle is eminently distinguished, as indeed he is from
every other in the picture ; his situation being so ex-
tremely remarkable, that he is shewn to the greatest
advantage that can possibly be conceived. The man who
is about to ascend the steps, the woman behind him, and
eight other figures, who are represented standing, com-
pose the second group; and the third is formed by six
persons who are sitting: this last is placed between the
first and second, nearly in the centre of the picture.
The character of Paul is universally allowed to be the
most sublime performance that ever was produced by the