DOI Page / Citation link:
https://doi.org/10.11588/diglit.59565#0025
CARTONS OF RAPHAEL URBIN.
by opposing the backs of some of the figures to others
which are seen in front, and further contrasting these by
several which are in profile.
There is not, perhaps, in the world, a picture so tho-
roughly characterised, or so artfully managed, as this
carton. The moment of Peter’s having pronounced the
words, “ In the name of Jesus Christ of Nazareth, rise
up and walk,” is the time chosen by Raphael; and is the
instant when the lame man finds himself suddenly enabled
to rise; when the muscles of his limhs, released from the
contraction which till now with-held and deprived him
of their uso, are expanding, and an extraordinary im-
pulse urges him to the exertion of their hitherto useless
functions; all which is most amazingly conceived and
expressed. At this period, those who were apprized of
something extraordinary which was then transacting, are
endeavouring to thrust forward on the side of the picture
where the cripple is placed ; and these, with a woman
and boy who are hastily passing on to the temple, to-
gether with the inimitable boy in the front of the picture,
who is eagerly pulling back one of the figures, remark-
ably characterise the principal subject of the carton;
which is that of the agents of divine power giving
strength and agility to the torpid limbs of the man who
was born lame. Wonder and amazement are finely ex-
pressed in the characters of the spectators; and, on the
side of the picture next to Peter, who with great dignity
has conferred the divine gift, every thing is still, but ex-
pressing silent amazement. Thus, in the parts where
dignity should be preserved, all is quiet; and where
strength and activity is given, every thing is in motion.
The character of the cripple is finely imagined, it is per-
fectly that of a mean person ; and the expression of jov
by opposing the backs of some of the figures to others
which are seen in front, and further contrasting these by
several which are in profile.
There is not, perhaps, in the world, a picture so tho-
roughly characterised, or so artfully managed, as this
carton. The moment of Peter’s having pronounced the
words, “ In the name of Jesus Christ of Nazareth, rise
up and walk,” is the time chosen by Raphael; and is the
instant when the lame man finds himself suddenly enabled
to rise; when the muscles of his limhs, released from the
contraction which till now with-held and deprived him
of their uso, are expanding, and an extraordinary im-
pulse urges him to the exertion of their hitherto useless
functions; all which is most amazingly conceived and
expressed. At this period, those who were apprized of
something extraordinary which was then transacting, are
endeavouring to thrust forward on the side of the picture
where the cripple is placed ; and these, with a woman
and boy who are hastily passing on to the temple, to-
gether with the inimitable boy in the front of the picture,
who is eagerly pulling back one of the figures, remark-
ably characterise the principal subject of the carton;
which is that of the agents of divine power giving
strength and agility to the torpid limbs of the man who
was born lame. Wonder and amazement are finely ex-
pressed in the characters of the spectators; and, on the
side of the picture next to Peter, who with great dignity
has conferred the divine gift, every thing is still, but ex-
pressing silent amazement. Thus, in the parts where
dignity should be preserved, all is quiet; and where
strength and activity is given, every thing is in motion.
The character of the cripple is finely imagined, it is per-
fectly that of a mean person ; and the expression of jov