DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.73712#0288
196 THE WORKS OF
scure, arises solely from his colouring; for
knowing that shades lose the quality of their co-
lours, and render them dark, he knew how to
give them the tone which they ought to have,
and by his knowledge in colouring, he made
something os good in Clare Obscure. He like-
wise bestowed great attention in the imitation
of nature, which he copied regularly; and
since nature is so various, the same variety is to
be found in his works; but he did not study it
by the same principles of Correggio: he con-
tented himself whJely by imitating it as he saw
it, without adding any thing os the Ideal.
These my propositions are not to be taken ri-
gouroussy, as if I would pretend to make Titian
totally ignorant of Clare Obscure, and Correggio
os Colouring; my intention is only to compare
the merits of these great artists, and to discover
the parts in which each has remained excellent;
because in an art so extensive, as painting it is
not possible that one sole limited understanding
can embrace the whole in the same degree of
perfection.
From whence, by all that which I have said,
I do not mean that the aforesaid great painters
were ignorant of any os the essential parts of the
art; I mean only that each had some part in
which he excelled more than in another.
Raphael for instance will appear to be arrived
to the highest point of perfection in design, to
him who does not consider the beautiful anci-
ent statues which are superior to him. He who
has not suffieient instrustion will sometimes pre-
scure, arises solely from his colouring; for
knowing that shades lose the quality of their co-
lours, and render them dark, he knew how to
give them the tone which they ought to have,
and by his knowledge in colouring, he made
something os good in Clare Obscure. He like-
wise bestowed great attention in the imitation
of nature, which he copied regularly; and
since nature is so various, the same variety is to
be found in his works; but he did not study it
by the same principles of Correggio: he con-
tented himself whJely by imitating it as he saw
it, without adding any thing os the Ideal.
These my propositions are not to be taken ri-
gouroussy, as if I would pretend to make Titian
totally ignorant of Clare Obscure, and Correggio
os Colouring; my intention is only to compare
the merits of these great artists, and to discover
the parts in which each has remained excellent;
because in an art so extensive, as painting it is
not possible that one sole limited understanding
can embrace the whole in the same degree of
perfection.
From whence, by all that which I have said,
I do not mean that the aforesaid great painters
were ignorant of any os the essential parts of the
art; I mean only that each had some part in
which he excelled more than in another.
Raphael for instance will appear to be arrived
to the highest point of perfection in design, to
him who does not consider the beautiful anci-
ent statues which are superior to him. He who
has not suffieient instrustion will sometimes pre-