DOI Page / Citation link:
https://doi.org/10.11588/diglit.51585#0102
98
EARLY ITALIAN PAINTERS.
grandeur a variety and dramatic vivacity which re-
lieve it from all formality. This picture also con-
tains not less than fifty figures.
Law, or Jurisprudence, from the particular con-
struction of the wall on which the subject is
painted, is represented with less completeness, and
is broken up into divisions. Prudence, Fortitude,
and Temperance are above ; below, on one side, is
Pope Gregory delivering the ecclesiastical law ;
and on the other, Justinian promulgating his
famous code of civil law. The whole decoration
of this chamber forms a grand allegory of the do-
main of human intellect, shadowed forth in crea-
tions of surpassing beauty and dignity.
The description here given is necessarily brief
and imperfect. We advise our readers to consult
the engravings of these frescoes, and with the above
explanation they will probably be intelligible; at
all events, the wonderfully prolific genius of the
painter will be appreciated, in the number of the
personages introduced and the appropriate charac-
ters of each.
About this time Raphael painted that portrait of
Julius II. of which a duplicate is in our National
Gallery. No one who has studied the history of
this extraordinary old man, and his 'relations with
Michael Angelo and Raphael, can look upon it
without interest. Another fine duplicate is in
the gallery of Mr. Miles, at Leigh Court near
EARLY ITALIAN PAINTERS.
grandeur a variety and dramatic vivacity which re-
lieve it from all formality. This picture also con-
tains not less than fifty figures.
Law, or Jurisprudence, from the particular con-
struction of the wall on which the subject is
painted, is represented with less completeness, and
is broken up into divisions. Prudence, Fortitude,
and Temperance are above ; below, on one side, is
Pope Gregory delivering the ecclesiastical law ;
and on the other, Justinian promulgating his
famous code of civil law. The whole decoration
of this chamber forms a grand allegory of the do-
main of human intellect, shadowed forth in crea-
tions of surpassing beauty and dignity.
The description here given is necessarily brief
and imperfect. We advise our readers to consult
the engravings of these frescoes, and with the above
explanation they will probably be intelligible; at
all events, the wonderfully prolific genius of the
painter will be appreciated, in the number of the
personages introduced and the appropriate charac-
ters of each.
About this time Raphael painted that portrait of
Julius II. of which a duplicate is in our National
Gallery. No one who has studied the history of
this extraordinary old man, and his 'relations with
Michael Angelo and Raphael, can look upon it
without interest. Another fine duplicate is in
the gallery of Mr. Miles, at Leigh Court near