DOI Page / Citation link:
https://doi.org/10.11588/diglit.51585#0183
SCHOLARS OF RAPHAEL.
179
fair example of his style. The subject is a Vision
of St. Augustine, rendered still more poetical by
the introduction of the Virgin and Child above, and
the figure of St. Catherine, who stands behind the
saint. Garofalo’s small pictures are not uncom-
mon ; his large pictures are chiefly confined to
Ferrara and tlie churches around it.
Tibaldi of Bologna, Innocenza da Imola,
and Timoteo della Vite were also painters of
the Roman school, whose works are very seldom
met with in England.
Another painter, who must not be omitted, was
Giulio Clovio. He was originally a monk, and
began by imitating the miniatures in the illumi-
nated missals and psalm-books used in the Church.
He then studied at ;Rome, and was particularly
indebted to Michael Angelo and Giulio Romano.
His works are a proof that greatness and correct-
ness of style do not depend on size and space ; for
into a few inches square, into the arabesque orna-
ments round a page of manuscript, he could throw
a feeling of the sublime and beautiful worthy of
the great masters of art. The vigour and preci-
sion of his drawing in the most diminutive figures,
the imaginative beauty of some of his tiny compo-
sitions (for Giulio was no copyist), is almost incon-
ceivable. His works were enormously paid, and
executed only for sovereign princes and rich pre-
lates. Fifteen years of his life were spent in the
179
fair example of his style. The subject is a Vision
of St. Augustine, rendered still more poetical by
the introduction of the Virgin and Child above, and
the figure of St. Catherine, who stands behind the
saint. Garofalo’s small pictures are not uncom-
mon ; his large pictures are chiefly confined to
Ferrara and tlie churches around it.
Tibaldi of Bologna, Innocenza da Imola,
and Timoteo della Vite were also painters of
the Roman school, whose works are very seldom
met with in England.
Another painter, who must not be omitted, was
Giulio Clovio. He was originally a monk, and
began by imitating the miniatures in the illumi-
nated missals and psalm-books used in the Church.
He then studied at ;Rome, and was particularly
indebted to Michael Angelo and Giulio Romano.
His works are a proof that greatness and correct-
ness of style do not depend on size and space ; for
into a few inches square, into the arabesque orna-
ments round a page of manuscript, he could throw
a feeling of the sublime and beautiful worthy of
the great masters of art. The vigour and preci-
sion of his drawing in the most diminutive figures,
the imaginative beauty of some of his tiny compo-
sitions (for Giulio was no copyist), is almost incon-
ceivable. His works were enormously paid, and
executed only for sovereign princes and rich pre-
lates. Fifteen years of his life were spent in the