DOI Page / Citation link:
https://doi.org/10.11588/diglit.73713#0083
RAPHAEL MENGS. 13
sound yet too much difficulty to accomodate
himsels to these styles, and poilessing a great
natural talent, he applied himself principally to
the part of competition, and to that which is
called Taste. Until this time, all conipositions
had had a kind of symmetry, or be it dispo-
sition, regulated according as the equilibrium,
and invention of the history required; but
Peter of Cortona almost separated the invention
of the composition, valuing much more of thosc
parts which delight the light; as are the con-
trapositions and contrails of the members of the
sigures, so that then was introduced the custoni
os filling paintings with a croud of figures, well
distributed, without thinkingwhether they suit-
ed the history or not; which is diametrically
opposite to the practice of the ancient Greeks,
who used to employ few figures, in order that
their perfection might be more visible: those os
the school of Cortona, to the contrary, used
many sigures in order that their imperfections
Should not be so palpable. Os this lalt school,
there are very many of the same sentiments,
which have changed the character of painting.
A little after came Carlo Maratti, who, aspi-
ring to perfection, sought it in the works of
other painters and particularly in those of the
Caracci's. Although he applied all his ttudy
to be natural, one knows by himself that he
was in the preoccupation os not following his
own simplicity. This maxim he extended to
all the parts of the art; and, with that, has
given to his school, (which has been the lalt
sound yet too much difficulty to accomodate
himsels to these styles, and poilessing a great
natural talent, he applied himself principally to
the part of competition, and to that which is
called Taste. Until this time, all conipositions
had had a kind of symmetry, or be it dispo-
sition, regulated according as the equilibrium,
and invention of the history required; but
Peter of Cortona almost separated the invention
of the composition, valuing much more of thosc
parts which delight the light; as are the con-
trapositions and contrails of the members of the
sigures, so that then was introduced the custoni
os filling paintings with a croud of figures, well
distributed, without thinkingwhether they suit-
ed the history or not; which is diametrically
opposite to the practice of the ancient Greeks,
who used to employ few figures, in order that
their perfection might be more visible: those os
the school of Cortona, to the contrary, used
many sigures in order that their imperfections
Should not be so palpable. Os this lalt school,
there are very many of the same sentiments,
which have changed the character of painting.
A little after came Carlo Maratti, who, aspi-
ring to perfection, sought it in the works of
other painters and particularly in those of the
Caracci's. Although he applied all his ttudy
to be natural, one knows by himself that he
was in the preoccupation os not following his
own simplicity. This maxim he extended to
all the parts of the art; and, with that, has
given to his school, (which has been the lalt