DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.51585#0167
SCHOLARS OF RAPHAEL.
163
after Raphael's death has, with much tenderness
and Raffaelesque grace, a sort of feebleness more
of mind than hand : his pictures are very rare.
He died in 1528.
His brother Luca Penni was in England for
some years in the service of Henry VIII., and
employed by Wolsey in decorating- his palace at
Hampton Court; some remains of his performances
there were still to be seen in the middle of the last
century ; but Horace Walpole’s notion that Luca
Penni executed those three singular pictures, the
Field of the Cloth of Gold, the Battle of the
Spurs, and the Embarkation of Henry VIII.,
appears to be quite unfounded.
Giulio Pippi, surnamed from the place of his
birth II Romano, and generally styled Giulio
Romano, was also much beloved by Raphael, and
of all his scholars the most distinguished for ori-
ginal power. While under the influence of Ra-
phael’s mind, he imitated his manner and copied
his pictures so successfully, that it is sometimes
difficult for the best judges to distinguish the dif-
ference of hand. The Julius II. in our National
Gallery is an instance. After Raphael’s death he
abandoned himself to his own luxuriant genius.
He lost the simplicity, the grace, the chaste and
elevated feeling which had characterised his master.
He became strongly embued with the then reign-
ing taste for classical and mythological subjects,
163
after Raphael's death has, with much tenderness
and Raffaelesque grace, a sort of feebleness more
of mind than hand : his pictures are very rare.
He died in 1528.
His brother Luca Penni was in England for
some years in the service of Henry VIII., and
employed by Wolsey in decorating- his palace at
Hampton Court; some remains of his performances
there were still to be seen in the middle of the last
century ; but Horace Walpole’s notion that Luca
Penni executed those three singular pictures, the
Field of the Cloth of Gold, the Battle of the
Spurs, and the Embarkation of Henry VIII.,
appears to be quite unfounded.
Giulio Pippi, surnamed from the place of his
birth II Romano, and generally styled Giulio
Romano, was also much beloved by Raphael, and
of all his scholars the most distinguished for ori-
ginal power. While under the influence of Ra-
phael’s mind, he imitated his manner and copied
his pictures so successfully, that it is sometimes
difficult for the best judges to distinguish the dif-
ference of hand. The Julius II. in our National
Gallery is an instance. After Raphael’s death he
abandoned himself to his own luxuriant genius.
He lost the simplicity, the grace, the chaste and
elevated feeling which had characterised his master.
He became strongly embued with the then reign-
ing taste for classical and mythological subjects,