DOI Page / Citation link:
https://doi.org/10.11588/diglit.73713#0107
103
RAPHAEL MENGS.'
said, he expressed the mind in the faces, as
a proportion more elegant than in the bodies.
One observes, especially in the Christ, the moss
beautiful countenance, with expression the most
lively, without altering in the least part the re-
gularity or nobleness of its physiognomy. A1-
so all the principal parts of the bones and mus-
cles are marked there, but do not injure the
greatness os the principal forms. This charac-
ter one observes allo in the neck, and hand
on which he leans; and though this action of
leaning presses the ssesh in a manner which al-
most hides the bones, and the joints, tljat, ne-
vertheless, gives such contour to the thumb,
and to the other fingers, and so corresponds to
the character of the head, as is it were execu-
ted by the most able Grecian artists, who had
wished to make a figure of a character between
that of Jove and Apollo; which essectively
ought to be that which corresponds with Christ,
adding only the accidental expression of the
passions in which he is represented.
I will not be difsuse in laying, how excellent
is every little stroke of the pencil in the know-
ledge of foreshortening, and theoutlines, which
are hid one within the other, according to the
point of view, so that it appears to him who
considers well that work, that in many places
the sight can penetrate within the surface. The
turns of all the parts of the head according to
the action and point of view, is executed as
Raphael was accustomed. But it would be too
long to speak of every little observation, and
RAPHAEL MENGS.'
said, he expressed the mind in the faces, as
a proportion more elegant than in the bodies.
One observes, especially in the Christ, the moss
beautiful countenance, with expression the most
lively, without altering in the least part the re-
gularity or nobleness of its physiognomy. A1-
so all the principal parts of the bones and mus-
cles are marked there, but do not injure the
greatness os the principal forms. This charac-
ter one observes allo in the neck, and hand
on which he leans; and though this action of
leaning presses the ssesh in a manner which al-
most hides the bones, and the joints, tljat, ne-
vertheless, gives such contour to the thumb,
and to the other fingers, and so corresponds to
the character of the head, as is it were execu-
ted by the most able Grecian artists, who had
wished to make a figure of a character between
that of Jove and Apollo; which essectively
ought to be that which corresponds with Christ,
adding only the accidental expression of the
passions in which he is represented.
I will not be difsuse in laying, how excellent
is every little stroke of the pencil in the know-
ledge of foreshortening, and theoutlines, which
are hid one within the other, according to the
point of view, so that it appears to him who
considers well that work, that in many places
the sight can penetrate within the surface. The
turns of all the parts of the head according to
the action and point of view, is executed as
Raphael was accustomed. But it would be too
long to speak of every little observation, and