DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.73713#0104
100 THE WORKS OF
the part most noble, which is the lignification
appertaining to invention.
Some ignorant people have dared to say that
Raphael was not a composer, because they met
but with the few images of the Madonna, and
had never seen the magnificent works of the
Vatican, nor those of the acts of the Apoftles,
invented by him for a work of tapestry,
which even in Madrid one can see and con-
template in the complete collection of the
Duke of Alba. When, however, one could
not observe these, nor the prints of Raphael,
the sole painting of which we speak could
convince any one ofhis eminent quality in this
part. In fa&, who knew better than him how-
to equilibrate * the compositions, to piramid s
the groups, and to give the contrast of an alter-
native motion to the members of the figures,
with infinite variety of directions, so that all the
parts of the divine work appear to be living?
And who understood better the just quality of
the figures which are suitable to a history, and
to dispose of them in a manner that none rest
idle or useless? Ifhe uscd only moderation, and
rarely certain violent motions, it was to subjeCt
every thing to expression, and to paint the date
* To Equilibrate a composition means,that the objects ought
. to be distributed in a manner that they do not leave one part of
the painting void, and the other full, and that this distribution
appears natural, and never affected.
f To Piramid the groups, is to make the objects together
form a piramid, that is, that it has a greater base than point.
And that in any other form but that in which they are disposed,
be it straight or circular, they will have a frightful effect.
the part most noble, which is the lignification
appertaining to invention.
Some ignorant people have dared to say that
Raphael was not a composer, because they met
but with the few images of the Madonna, and
had never seen the magnificent works of the
Vatican, nor those of the acts of the Apoftles,
invented by him for a work of tapestry,
which even in Madrid one can see and con-
template in the complete collection of the
Duke of Alba. When, however, one could
not observe these, nor the prints of Raphael,
the sole painting of which we speak could
convince any one ofhis eminent quality in this
part. In fa&, who knew better than him how-
to equilibrate * the compositions, to piramid s
the groups, and to give the contrast of an alter-
native motion to the members of the figures,
with infinite variety of directions, so that all the
parts of the divine work appear to be living?
And who understood better the just quality of
the figures which are suitable to a history, and
to dispose of them in a manner that none rest
idle or useless? Ifhe uscd only moderation, and
rarely certain violent motions, it was to subjeCt
every thing to expression, and to paint the date
* To Equilibrate a composition means,that the objects ought
. to be distributed in a manner that they do not leave one part of
the painting void, and the other full, and that this distribution
appears natural, and never affected.
f To Piramid the groups, is to make the objects together
form a piramid, that is, that it has a greater base than point.
And that in any other form but that in which they are disposed,
be it straight or circular, they will have a frightful effect.