DOI Page / Citation link:
https://doi.org/10.11588/diglit.51585#0113
RAPHAEL SANZIO D’URBINO.
109
of attitude and emotion, expressed with a perfect
knowledge of form ; and some of the figures ex-
hibit the influence of Michael Angelo’s ceiling of
the Sistine Chapel already described. This fresco,
though so fine in point of drawing, is the worst
coloured of the whole series; the best in point
of'colour are the Heliodorus and the Miracle of
Bolsena.
The last of the chambers in the Vatican is the
Hall of Constantine, painted with scenes from the
life of that emperor. The whole of these frescoes
having been executed by the scholars of Raphael,
from his designs and cartoons, we shall not dwell
on them here, only observing that an excellent
reduced copy of the finest of all, the Battle of
Constantine and Maxentius, may be seen at Hamp-
ton Court.
While Raphael, assisted by his scholars, was
designing and executing the large frescoes in the
Vatican, he was also engaged in many other works.
His fertile mind and ready hand were never idle,
and the number of original creations of this won-
derful man, and the rapidity with which they suc-
ceeded each other, are quite unexampled. Among
his most celebrated and popular compositions is the
series of subjects from the Old Testament, called
Raphael’s Bible;’ these were comparatively small
Pictures adorning the thirteen cupolas of the
‘Loggie” of the Vatican. These “Loggie” are
f 3
109
of attitude and emotion, expressed with a perfect
knowledge of form ; and some of the figures ex-
hibit the influence of Michael Angelo’s ceiling of
the Sistine Chapel already described. This fresco,
though so fine in point of drawing, is the worst
coloured of the whole series; the best in point
of'colour are the Heliodorus and the Miracle of
Bolsena.
The last of the chambers in the Vatican is the
Hall of Constantine, painted with scenes from the
life of that emperor. The whole of these frescoes
having been executed by the scholars of Raphael,
from his designs and cartoons, we shall not dwell
on them here, only observing that an excellent
reduced copy of the finest of all, the Battle of
Constantine and Maxentius, may be seen at Hamp-
ton Court.
While Raphael, assisted by his scholars, was
designing and executing the large frescoes in the
Vatican, he was also engaged in many other works.
His fertile mind and ready hand were never idle,
and the number of original creations of this won-
derful man, and the rapidity with which they suc-
ceeded each other, are quite unexampled. Among
his most celebrated and popular compositions is the
series of subjects from the Old Testament, called
Raphael’s Bible;’ these were comparatively small
Pictures adorning the thirteen cupolas of the
‘Loggie” of the Vatican. These “Loggie” are
f 3