DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.73712#0142
50
THE WORKS OF
from thence of the arrangement os the bones,
and the articulation, to the principal muscles
and neryes, and lastly to the small veins, and
even to the wrinldes where they occurred, One
sees therefore the principal parts always distinct,
and raised in his works, and if he sailed in any
thing in his design, it was certainly only in the
least and accidental parts.
His inferior works also are testimonies of the
perspicuity of his genius, because if he only
Fetched any thing, it immediately shewed signs
of a principal and important object ; and that
which was wanting was always very trissing in
comparifon to that which existed: the necessary
part was never wanting, but the superssuous al-
ways. He is expressive even in his trissing
pieces ; his sselh is round, his nerves straight,
the bone angular, and every thing is more or
less according to its proper quality; and, in a
word, all is truth in his works.
That which has been here said, will be suffi-
cient for him who would with to think for him-
self upon the subjedt of the design of Raphael,
I shall therefore in this place treat of the de-
sign of Correggio.
Correggio was born eleven years after Ra-
phael, when the art was found in the same state
of simplicity.
He began to fiudy almost only the imitation
of Nature, and since he pursued more a grateful
and pleasing genius, than a perfect one, he found
out the way at the beginning, by means of uni-
formity, and depriving his drawing of every
THE WORKS OF
from thence of the arrangement os the bones,
and the articulation, to the principal muscles
and neryes, and lastly to the small veins, and
even to the wrinldes where they occurred, One
sees therefore the principal parts always distinct,
and raised in his works, and if he sailed in any
thing in his design, it was certainly only in the
least and accidental parts.
His inferior works also are testimonies of the
perspicuity of his genius, because if he only
Fetched any thing, it immediately shewed signs
of a principal and important object ; and that
which was wanting was always very trissing in
comparifon to that which existed: the necessary
part was never wanting, but the superssuous al-
ways. He is expressive even in his trissing
pieces ; his sselh is round, his nerves straight,
the bone angular, and every thing is more or
less according to its proper quality; and, in a
word, all is truth in his works.
That which has been here said, will be suffi-
cient for him who would with to think for him-
self upon the subjedt of the design of Raphael,
I shall therefore in this place treat of the de-
sign of Correggio.
Correggio was born eleven years after Ra-
phael, when the art was found in the same state
of simplicity.
He began to fiudy almost only the imitation
of Nature, and since he pursued more a grateful
and pleasing genius, than a perfect one, he found
out the way at the beginning, by means of uni-
formity, and depriving his drawing of every