DOI Page / Citation link:
https://doi.org/10.11588/diglit.19388#0043
A DESCRIPTION OF THE CARTOONS OF RAPHAEL URBIN. 35
ately admired this figure, with a warmth peculiar to himself (which, perhaps, upon
this, and some similar occasions carried him a little too far), says, K But no historian
or orator, can possibly give me so great an idea of that eloquent and zealous apostle,
as that figure of his does ; all the fine things related, as said or wrote by him, cannot;
for there I see a person, face, air, and action, which no words can sufficiently describe,
but which assure me as much as those can, that that man must speak good sense, and to
the purpose." Thus much is beyond contradiction, that nothing hitherto produced can
give so great an idea of the person of Paul, or can better help to illustrate the divine
zeal and elocution which that apostle so eminently possessed, than the awful, majestic,
and expressive character, which the hand of Raphael has given them.*
Raphael has temployed every artifice, in order to make the apostle particularly
conspicuous ; all the figures in the picture are subservient to that purpose ; the man
and woman at the bottom of the steps are actually nearer to the eye than the apostle,
but their situation causes the base line of the picture to cut off part of their height
and as they are both stooping, they are effectually 'prevented from lessening the im-
portance of the apostle. He has managed the figures that appear behind the apostle
in the same manner, by placing two of them lower than Paul, and the third sitting up-
on the upper step; by which means they are sufficiently degraded. The figures in
the second groupe, who are seen standing, are situated upon the ground, their heads
mostly inclined, and are also at a considerable distance; and those who compose
the middle groupe are at a still greater distance and are represented sitting. But the
gigantic statue of Mars, which is introduced with great propriety is of infinite service
to the picture; it is placed beyond the outermost figures of the second groupe;
therefore the distance of this statue being considered, and the height and bulk of it
compared with the figure of the apostle, it will be found to reduce the last to a mode-
rate size, and also serves admirably, by its magnitude, to balance that side of the
picture.
Among a great variety of fine characters in this picture, next to that of the
apostles, is that of the man who is ascending the steps, in whose countenance awe
and reverence are finely blended ;f nor need the most common observer be told,
that this man and the woman behind him are intended to represent Dionysius and
Damarius,J who we are informed by the history were converted.
The expression of extreme attention in the three figures nearest to Dionysius in
the second groupe, is most admirably described ;§ nor is that of the man in the same
groupe, who presses his lips with his finger, less to be admired.|| The three figures
behind the apostle, who are apparently displeased with his discourse, are finely
* Plate 27. No. I. t Plate 37. No. II. | Plate 1. No. I.
§ Plate 19. No. I. Plate 24. No. I. and II. Plate 25. No. I.
II Plate 36. No. II.
ately admired this figure, with a warmth peculiar to himself (which, perhaps, upon
this, and some similar occasions carried him a little too far), says, K But no historian
or orator, can possibly give me so great an idea of that eloquent and zealous apostle,
as that figure of his does ; all the fine things related, as said or wrote by him, cannot;
for there I see a person, face, air, and action, which no words can sufficiently describe,
but which assure me as much as those can, that that man must speak good sense, and to
the purpose." Thus much is beyond contradiction, that nothing hitherto produced can
give so great an idea of the person of Paul, or can better help to illustrate the divine
zeal and elocution which that apostle so eminently possessed, than the awful, majestic,
and expressive character, which the hand of Raphael has given them.*
Raphael has temployed every artifice, in order to make the apostle particularly
conspicuous ; all the figures in the picture are subservient to that purpose ; the man
and woman at the bottom of the steps are actually nearer to the eye than the apostle,
but their situation causes the base line of the picture to cut off part of their height
and as they are both stooping, they are effectually 'prevented from lessening the im-
portance of the apostle. He has managed the figures that appear behind the apostle
in the same manner, by placing two of them lower than Paul, and the third sitting up-
on the upper step; by which means they are sufficiently degraded. The figures in
the second groupe, who are seen standing, are situated upon the ground, their heads
mostly inclined, and are also at a considerable distance; and those who compose
the middle groupe are at a still greater distance and are represented sitting. But the
gigantic statue of Mars, which is introduced with great propriety is of infinite service
to the picture; it is placed beyond the outermost figures of the second groupe;
therefore the distance of this statue being considered, and the height and bulk of it
compared with the figure of the apostle, it will be found to reduce the last to a mode-
rate size, and also serves admirably, by its magnitude, to balance that side of the
picture.
Among a great variety of fine characters in this picture, next to that of the
apostles, is that of the man who is ascending the steps, in whose countenance awe
and reverence are finely blended ;f nor need the most common observer be told,
that this man and the woman behind him are intended to represent Dionysius and
Damarius,J who we are informed by the history were converted.
The expression of extreme attention in the three figures nearest to Dionysius in
the second groupe, is most admirably described ;§ nor is that of the man in the same
groupe, who presses his lips with his finger, less to be admired.|| The three figures
behind the apostle, who are apparently displeased with his discourse, are finely
* Plate 27. No. I. t Plate 37. No. II. | Plate 1. No. I.
§ Plate 19. No. I. Plate 24. No. I. and II. Plate 25. No. I.
II Plate 36. No. II.