DOI Page / Citation link:
https://doi.org/10.11588/diglit.73712#0279
RAPHAEL MENGS, 187
tint as it really is in nature, it would certainly
want the necessary colour to imitate light.
Being thus proved that Correggio observed all
these rules to perfection, I believe that he me-
rits the title of an Ideal and sublime painter
in the part of Clare Obscure. For what regards
colouring, he has not been the imitator of Na-
ture, except in the part os drapery, which he
knew how to choose according to the necessary
mass. He knew also perfectly the force and de-
gree of colouring, in order to revive or weaken
that which he thought agreed with the compo-
sition. He had enough of the Ideal for certain
intricate figures, but that is Ideal in effect, and
not in fundament. In short Correggio sub^
je&ed all the parts of painting to the election
of beautiful esfect, and Clare Obfcure, and all
the beauty which he had betides is derived
srom that principles
tint as it really is in nature, it would certainly
want the necessary colour to imitate light.
Being thus proved that Correggio observed all
these rules to perfection, I believe that he me-
rits the title of an Ideal and sublime painter
in the part of Clare Obscure. For what regards
colouring, he has not been the imitator of Na-
ture, except in the part os drapery, which he
knew how to choose according to the necessary
mass. He knew also perfectly the force and de-
gree of colouring, in order to revive or weaken
that which he thought agreed with the compo-
sition. He had enough of the Ideal for certain
intricate figures, but that is Ideal in effect, and
not in fundament. In short Correggio sub^
je&ed all the parts of painting to the election
of beautiful esfect, and Clare Obfcure, and all
the beauty which he had betides is derived
srom that principles