DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.73713#0099
RAPHAEL MENGS.
95
Tn all ages it has been much admired by truly
intelligent men: Agostino os Venice engraved
it, however without giving an idea of its beau-
ty. The Count Malvasia speaks of itindispraise,
but his same writings ihows him of little judg-
ment in the excellence of paintings, and he
confides in the relation of some painters, per-
haps those, who by their great inferiority to Ra-
phael, could not discern the merit of that great
man, nor the true reasons for which they ought
to value the works of famous artists.
It appears to me indubitable, that the part
molt noble in painting is not that which solely
delights the sight, and renders a work pleating
to men who are in sact ignorant of the art, but
that those parts are the most valuable which
satisfy the understanding, and contentthose who
know how to make use of the faculties os the
mind. It being thus, (of which I am persuaded)
Raphael is without doubt the greatest painter
among all those whose works have been preser-
ved to our time. The inventions and concep-
tions of his paintings, give at first sight an idea
of that which he would make comprehensible
to the understanding of those who view him.
By that, his subje&s are tranquil, tumultuous, fe-
rocious, oramiable, cheerful or melancholy, not
containing any thing contrary to that idea, and,
give the perfect signification of the subjedts; by
which means he moves our intellects, and
acquire above all, power, and authority, like
Poetry and Oratory.1
Betides this, in each of his figures one sees
95
Tn all ages it has been much admired by truly
intelligent men: Agostino os Venice engraved
it, however without giving an idea of its beau-
ty. The Count Malvasia speaks of itindispraise,
but his same writings ihows him of little judg-
ment in the excellence of paintings, and he
confides in the relation of some painters, per-
haps those, who by their great inferiority to Ra-
phael, could not discern the merit of that great
man, nor the true reasons for which they ought
to value the works of famous artists.
It appears to me indubitable, that the part
molt noble in painting is not that which solely
delights the sight, and renders a work pleating
to men who are in sact ignorant of the art, but
that those parts are the most valuable which
satisfy the understanding, and contentthose who
know how to make use of the faculties os the
mind. It being thus, (of which I am persuaded)
Raphael is without doubt the greatest painter
among all those whose works have been preser-
ved to our time. The inventions and concep-
tions of his paintings, give at first sight an idea
of that which he would make comprehensible
to the understanding of those who view him.
By that, his subje&s are tranquil, tumultuous, fe-
rocious, oramiable, cheerful or melancholy, not
containing any thing contrary to that idea, and,
give the perfect signification of the subjedts; by
which means he moves our intellects, and
acquire above all, power, and authority, like
Poetry and Oratory.1
Betides this, in each of his figures one sees