DOI Page / Citation link:
https://doi.org/10.11588/diglit.19388#0042
34
A DESCRIPTION OF THE CARTOONS OF RAPHAEL URBIN.
that as he probably had not had time to be fully instructed in the Christian faith, this
was the only way in which he could possibly testify his gratitude ; but it is submitted
whether he might not, with more propriety and equal advantage to the picture, have
been introduced in the place of the man, who is on the same side of the picture with
the apostles, employed in bringing a ram to the sacrifice ;* or at least in some other
situation, in this particular more agreeable to his disposition to receive the religion
of Christ. The whole figure of this man is finely designed, and vastly expressive; but
the leg, which the old man is looking at, is remarkably elegant, and was undoubtedly
painted from nature. The figure of the old man is also finely drawn and imagined,
and his attitude, which is stooping, brings several subordinate figures into view, which
could not otherwise have been seen. The architecture in the back ground of
this Cartoon is magnificent; the forms of the buildings are finely varied; and the
whole together exhibits a noble composition.
CARTOON VII.
PAUL PREACHING AT ATHENS.
Then Paul stood in the midst of Mars hill, and said, Ye men of Athens, I perceive that
in all things ye are too superstitious: For as I passed by and beheld your devotions, I
found an altar with this inscription, to the unknown GOD; whom, therefore, ye
ignorantly worship, him declare I unto you.—Acts xvii. 22, 23.
IF invention, expression, design, variety, and decorum, are allowed to constitute a
fine historical composition, this Cartoon certainly deserves the character it has long
maintained, of being one of the greatest performances of Raphael.
This fine picture is divided into three groupes; the first of which is composed of
four figures, among whom the apostle is eminently distinguished, as indeed he is from
every other in the picture; his situation being so extremely remarkable, that he is
shewn to the greatest advantage that can possibly be conceived. The man who is
about to ascend the steps, the woman behind him, and eight other figures who are
represented standing, compose the second groupe; and the third is formed by six
persons who are sitting. This last is placed between the first and second, nearly in
the centre of the picture.
The character of Paul is universally allowed to be the most sublime performance
that ever was produced by the pencil of Raphael; and Mr. Richardson, who passion-
• Plate 3. No. I.
A DESCRIPTION OF THE CARTOONS OF RAPHAEL URBIN.
that as he probably had not had time to be fully instructed in the Christian faith, this
was the only way in which he could possibly testify his gratitude ; but it is submitted
whether he might not, with more propriety and equal advantage to the picture, have
been introduced in the place of the man, who is on the same side of the picture with
the apostles, employed in bringing a ram to the sacrifice ;* or at least in some other
situation, in this particular more agreeable to his disposition to receive the religion
of Christ. The whole figure of this man is finely designed, and vastly expressive; but
the leg, which the old man is looking at, is remarkably elegant, and was undoubtedly
painted from nature. The figure of the old man is also finely drawn and imagined,
and his attitude, which is stooping, brings several subordinate figures into view, which
could not otherwise have been seen. The architecture in the back ground of
this Cartoon is magnificent; the forms of the buildings are finely varied; and the
whole together exhibits a noble composition.
CARTOON VII.
PAUL PREACHING AT ATHENS.
Then Paul stood in the midst of Mars hill, and said, Ye men of Athens, I perceive that
in all things ye are too superstitious: For as I passed by and beheld your devotions, I
found an altar with this inscription, to the unknown GOD; whom, therefore, ye
ignorantly worship, him declare I unto you.—Acts xvii. 22, 23.
IF invention, expression, design, variety, and decorum, are allowed to constitute a
fine historical composition, this Cartoon certainly deserves the character it has long
maintained, of being one of the greatest performances of Raphael.
This fine picture is divided into three groupes; the first of which is composed of
four figures, among whom the apostle is eminently distinguished, as indeed he is from
every other in the picture; his situation being so extremely remarkable, that he is
shewn to the greatest advantage that can possibly be conceived. The man who is
about to ascend the steps, the woman behind him, and eight other figures who are
represented standing, compose the second groupe; and the third is formed by six
persons who are sitting. This last is placed between the first and second, nearly in
the centre of the picture.
The character of Paul is universally allowed to be the most sublime performance
that ever was produced by the pencil of Raphael; and Mr. Richardson, who passion-
• Plate 3. No. I.