DOI Page / Citation link:
https://doi.org/10.11588/diglit.73712#0143
RAPHAEL MENGS. 51
angular and acute part. When he advanced in
the art he was convinced by the clare obseure,
that grandeur adds much to the pleating parts ;
then he began to relinquish the minutiae and to
aggrandize the form, by imitating entirely the
angles, and thus he produced a kind of sublime
Taste even in design, which was npt always con-
formable to truth. He drew his outlines in a
serpentine manner. In general his design was
not too just, but great, and pleasing. One
ought not to depreciate the ssudious Painter,
but it is necessary also to try to cull the honey
from those ssowers, that is to say to avail
of those beauties which are to be found in nature,
wherever the circumsiance and quality of things
permit it. When Correggio has sometimes de-
signed any part of a beautiful object, he has
joined the beautiful by way of imitation : This
will be sufficient to give an idea of the design os
that Painter.
Titian was his contemporary. He has no part of
design except that of Nature, which he imitated
well, always when he found it beautisul; since he
possessed a great justness of the eye, which was
as one might say natural to all the Painters of
that time ; and if all had known how to make
their choice as well as Raphael, all would have
been like him perfect in designing. Since I do
not find it necessary to say more upon the design
of Titian, I will proceed to give ressections upon
the clare obseure of these three Professors.
angular and acute part. When he advanced in
the art he was convinced by the clare obseure,
that grandeur adds much to the pleating parts ;
then he began to relinquish the minutiae and to
aggrandize the form, by imitating entirely the
angles, and thus he produced a kind of sublime
Taste even in design, which was npt always con-
formable to truth. He drew his outlines in a
serpentine manner. In general his design was
not too just, but great, and pleasing. One
ought not to depreciate the ssudious Painter,
but it is necessary also to try to cull the honey
from those ssowers, that is to say to avail
of those beauties which are to be found in nature,
wherever the circumsiance and quality of things
permit it. When Correggio has sometimes de-
signed any part of a beautiful object, he has
joined the beautiful by way of imitation : This
will be sufficient to give an idea of the design os
that Painter.
Titian was his contemporary. He has no part of
design except that of Nature, which he imitated
well, always when he found it beautisul; since he
possessed a great justness of the eye, which was
as one might say natural to all the Painters of
that time ; and if all had known how to make
their choice as well as Raphael, all would have
been like him perfect in designing. Since I do
not find it necessary to say more upon the design
of Titian, I will proceed to give ressections upon
the clare obseure of these three Professors.