DOI Page / Citation link:
https://doi.org/10.11588/diglit.73712#0138
46 THE WORKS OF
jested all that which has no expression, his
works are full of expressive Taste. The cause
therefore by which the works of Raphael do
not please all people equally at first sight, is,
that their beauties are founded on reason, and
not solely in appearance ; so that they are not
felt at first sight, but only when they have pe-
netrated into the imagination, and many per-
sons are of a penetration so feeble, that they
do not perceive any thing of the Beauty of that
great Painter.
Since Raphael's principal object was expres-
son, thus he has given to each figure a different
expression and signisicance, according as the
hifiory of his Painting required ; and possessing
this expression in all the parts of Painting, this
has become his natural and peculiar Taste,
In the same manner, that is, in leaving and re-
jecting all that which is useless, and serve
not the principal object, Correggio has ac-
quired a grateful and pleating Taste, and Titian
that of truth.
In order not to leave any obscurity in this lit-
tle work, I shall now proceed to explain even
more diffusely the Taste of these three cele-
brated men, by examining and explaining it
by all the parts of Painting such as I have found
in their works, and in every part thereof. I
shall begin by Design, passing from thence to
the clare obscure, Colouring, Composition,
Drapery and Harmony, in order thus to con-
firm what I have already said of their Taste.
jested all that which has no expression, his
works are full of expressive Taste. The cause
therefore by which the works of Raphael do
not please all people equally at first sight, is,
that their beauties are founded on reason, and
not solely in appearance ; so that they are not
felt at first sight, but only when they have pe-
netrated into the imagination, and many per-
sons are of a penetration so feeble, that they
do not perceive any thing of the Beauty of that
great Painter.
Since Raphael's principal object was expres-
son, thus he has given to each figure a different
expression and signisicance, according as the
hifiory of his Painting required ; and possessing
this expression in all the parts of Painting, this
has become his natural and peculiar Taste,
In the same manner, that is, in leaving and re-
jecting all that which is useless, and serve
not the principal object, Correggio has ac-
quired a grateful and pleating Taste, and Titian
that of truth.
In order not to leave any obscurity in this lit-
tle work, I shall now proceed to explain even
more diffusely the Taste of these three cele-
brated men, by examining and explaining it
by all the parts of Painting such as I have found
in their works, and in every part thereof. I
shall begin by Design, passing from thence to
the clare obscure, Colouring, Composition,
Drapery and Harmony, in order thus to con-
firm what I have already said of their Taste.