DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.19388#0044
36 A DESCRIPTION OF THE CARTOONS OF RAPHAEL URBIN.
invented,* particularly that of him who is sitting and rests his chin upon his hand;
in his character envy and malignity are finely described.-J-
Leonardo da Vinci, in his treatise upon Painting, has given it as a precept,
that 9 In grave and serious compositions, when assemblies are held, and matters of
importance debated, let but few young men be present; it being contrary to custom
to intrust affairs of this nature in the hands of youth, who are not less able to give
counsel, than they are willing to receive it; and who, therefore, have two reasons for
absenting themselves from these kinds of meetings.''^ This precept is no where
better illustrated than in this Cartoon, where there is a wonderful expression of
attention, decorum, and gravity, in the old men; and, on the contrary, the few young
persons who are introduced in the picture appear froward, impatient, and impetuous,
and contempt and dislike are strongly expressed in each of their characters; for
which reason part of these turbulent persons are judiciously thrown into the most <
distant groupe, and others are placed behind the older men.fy
In the distance between the buildings, in the center of the picture, are seen two
figures, who appear to be talking together, and seem to be of no consequence to the
composition; but their use is great: they not only serve to break the straight line
made by the heads of those who are sitting, as also the parallel lines made by the
columns of the temple and the adjacent piazza, but connect the principal and two subor-
dinate groupes together; and without them the picture must have suffered considerably.
The attitudes of the figures are extremely fine and expressive; the draperies
noble and well cast, particularly that of the apostle, which is admirably designed.
The architecture is elegant, not rich, but suitable to the taste of the Athenians, and
properly adapted to the picture; as is the distant view of the country, it being
customary for them to place the statue of Mars, as the guardian of the city, at the
entrance into it.
Upon the whole, it may not be improper to conclude, with comparing the ideas
of two such great painters as Raphael and Leonardo da Vinci in similar subjects, by
the following extract from the writings of the latter, who, in describing the manner in
which a public oration should be represented, says,9 To represent a person haranguing
a multitude, consider, in the first place, the subject-matter on which he is to enter-
tain them, in order to give him an action suitable to the occasion; for instance, if the
business be to persuade, let it appear in his gestures; if it be to argue and deduce
reasons, let him hold one of the fingers of his left hand between two of those of the
right, keeping the other two shut; let his face be turned to the assembly, and his
mouth half open, so that he may appear to speak; if he be sitting, let him seem
as about to rise, advancing his head a little forwards ; if he be represented standing
* Plate 33. No. II. Plate 38. No. II. f Plate 17. No. I. % See the Translation
printed at London, 1721. § Plate 20. No. II. Plate 30. No. I. Plate 41. No. II
Plate 42. No I. and II.
invented,* particularly that of him who is sitting and rests his chin upon his hand;
in his character envy and malignity are finely described.-J-
Leonardo da Vinci, in his treatise upon Painting, has given it as a precept,
that 9 In grave and serious compositions, when assemblies are held, and matters of
importance debated, let but few young men be present; it being contrary to custom
to intrust affairs of this nature in the hands of youth, who are not less able to give
counsel, than they are willing to receive it; and who, therefore, have two reasons for
absenting themselves from these kinds of meetings.''^ This precept is no where
better illustrated than in this Cartoon, where there is a wonderful expression of
attention, decorum, and gravity, in the old men; and, on the contrary, the few young
persons who are introduced in the picture appear froward, impatient, and impetuous,
and contempt and dislike are strongly expressed in each of their characters; for
which reason part of these turbulent persons are judiciously thrown into the most <
distant groupe, and others are placed behind the older men.fy
In the distance between the buildings, in the center of the picture, are seen two
figures, who appear to be talking together, and seem to be of no consequence to the
composition; but their use is great: they not only serve to break the straight line
made by the heads of those who are sitting, as also the parallel lines made by the
columns of the temple and the adjacent piazza, but connect the principal and two subor-
dinate groupes together; and without them the picture must have suffered considerably.
The attitudes of the figures are extremely fine and expressive; the draperies
noble and well cast, particularly that of the apostle, which is admirably designed.
The architecture is elegant, not rich, but suitable to the taste of the Athenians, and
properly adapted to the picture; as is the distant view of the country, it being
customary for them to place the statue of Mars, as the guardian of the city, at the
entrance into it.
Upon the whole, it may not be improper to conclude, with comparing the ideas
of two such great painters as Raphael and Leonardo da Vinci in similar subjects, by
the following extract from the writings of the latter, who, in describing the manner in
which a public oration should be represented, says,9 To represent a person haranguing
a multitude, consider, in the first place, the subject-matter on which he is to enter-
tain them, in order to give him an action suitable to the occasion; for instance, if the
business be to persuade, let it appear in his gestures; if it be to argue and deduce
reasons, let him hold one of the fingers of his left hand between two of those of the
right, keeping the other two shut; let his face be turned to the assembly, and his
mouth half open, so that he may appear to speak; if he be sitting, let him seem
as about to rise, advancing his head a little forwards ; if he be represented standing
* Plate 33. No. II. Plate 38. No. II. f Plate 17. No. I. % See the Translation
printed at London, 1721. § Plate 20. No. II. Plate 30. No. I. Plate 41. No. II
Plate 42. No I. and II.