DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.51585#0134
130
EARLY ITALIAN PAINTERS.
so combined as to make the story perfectly intelli-
gible as a passing scene, linking it at the same
time with the past and the succeeding time. We
have the foregone moment in the appearance of
the healed cripple, and the wonder he excites; in
the furious looks directed against the apostles by
some of the spectators we see foreshadowed the
persecution which immediately followed this act of
mistaken adoration. Every part of the grouping,
the figures, the head, both in drawing and ex-
pression, are wonderful, and have an infusion of
the antique and classical spirit most proper to the
subject. The sacrificial group of the ox, with the
figure holding its head and the man lifting the axe,
was taken from a Roman bas-relief which in Ra-
phael’s time was in the Villa Medici, and the idea
varied and adapted to his purpose with infinite
skill. The boys piping at the altar are full of
beauty, and most gracefully contrasted in cha-
racter. The whole is full of movement and in-
terest.
6. St. Paul 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 de-
votions, I found an altar with this inscription, To the un-
known God.”—Acts xvii. 22, 23.
Paul, standing on some elevated steps, is preach-
ing to the Athenians in the Areopagus; behind
EARLY ITALIAN PAINTERS.
so combined as to make the story perfectly intelli-
gible as a passing scene, linking it at the same
time with the past and the succeeding time. We
have the foregone moment in the appearance of
the healed cripple, and the wonder he excites; in
the furious looks directed against the apostles by
some of the spectators we see foreshadowed the
persecution which immediately followed this act of
mistaken adoration. Every part of the grouping,
the figures, the head, both in drawing and ex-
pression, are wonderful, and have an infusion of
the antique and classical spirit most proper to the
subject. The sacrificial group of the ox, with the
figure holding its head and the man lifting the axe,
was taken from a Roman bas-relief which in Ra-
phael’s time was in the Villa Medici, and the idea
varied and adapted to his purpose with infinite
skill. The boys piping at the altar are full of
beauty, and most gracefully contrasted in cha-
racter. The whole is full of movement and in-
terest.
6. St. Paul 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 de-
votions, I found an altar with this inscription, To the un-
known God.”—Acts xvii. 22, 23.
Paul, standing on some elevated steps, is preach-
ing to the Athenians in the Areopagus; behind