DOI Page / Citation link:
https://doi.org/10.11588/diglit.61022#0180
ROMAN ART
picture is the immediate sequel of that fresco and the ‘ School of
Athens,’ as an effort to reproduce at once the whole outward
character of an historical scene with studied heroisation of the
figures. The pet theme of flames and artificial light, the contrast
of daylight and shadow, and the careful gradation of perspective
and stature in order to give the illusion of a real space, recur
in this picture. So too the imperfections of the method occur,
for while the groups are singly no less dramatic, the tendency
begun in the ‘ Liberation of Peter,’ to concentrate the interest
entirely in the figures of the foreground is not continued, and
therefore in the attempt to comprehend the whole scene some-
thing of unity is lost. No doubt this is partly due to the effect
of the whole picture being intentionally one of discord and not
of harmony, but it is also due to the greater emphasis which is
thrown upon each single figure, and to a want of combination in
a single direction. There is an air of improvisation and of hasty
construction in the whole fresco; figures are interesting in them-
selves and clearly have part in the general action, but they are
added to each other and do not spring naturally as from a single
and vivid conception. The woman with hand outstretched above
her two children is a clear illustration of this carelessness and
want of unity. The group might have served for a representation
of the 4 Expulsion from Paradise,’ and no doubt had done so.
Consequently, the picture fails to produce a single impression,
and the attention of the beholder wanders from group to group
as though he were before a picture of an earlier age. The figures
of the foreground are in strong contrast to the small figures in
the back, which move easily and gracefully and are painted with
flowing and transparent colour. They are over-heavy and im-
mobile, their limbs are stiff and their poses too statuesque.
Probably in this the hands of pupils are to be observed, imper-
fectly reproducing the conception of the master’s mind, but
through the imperfections the conception remains apparent, and
shows Raphael to be now definitely embodying his notion of
158
picture is the immediate sequel of that fresco and the ‘ School of
Athens,’ as an effort to reproduce at once the whole outward
character of an historical scene with studied heroisation of the
figures. The pet theme of flames and artificial light, the contrast
of daylight and shadow, and the careful gradation of perspective
and stature in order to give the illusion of a real space, recur
in this picture. So too the imperfections of the method occur,
for while the groups are singly no less dramatic, the tendency
begun in the ‘ Liberation of Peter,’ to concentrate the interest
entirely in the figures of the foreground is not continued, and
therefore in the attempt to comprehend the whole scene some-
thing of unity is lost. No doubt this is partly due to the effect
of the whole picture being intentionally one of discord and not
of harmony, but it is also due to the greater emphasis which is
thrown upon each single figure, and to a want of combination in
a single direction. There is an air of improvisation and of hasty
construction in the whole fresco; figures are interesting in them-
selves and clearly have part in the general action, but they are
added to each other and do not spring naturally as from a single
and vivid conception. The woman with hand outstretched above
her two children is a clear illustration of this carelessness and
want of unity. The group might have served for a representation
of the 4 Expulsion from Paradise,’ and no doubt had done so.
Consequently, the picture fails to produce a single impression,
and the attention of the beholder wanders from group to group
as though he were before a picture of an earlier age. The figures
of the foreground are in strong contrast to the small figures in
the back, which move easily and gracefully and are painted with
flowing and transparent colour. They are over-heavy and im-
mobile, their limbs are stiff and their poses too statuesque.
Probably in this the hands of pupils are to be observed, imper-
fectly reproducing the conception of the master’s mind, but
through the imperfections the conception remains apparent, and
shows Raphael to be now definitely embodying his notion of
158