DOI Page / Citation link:
https://doi.org/10.11588/diglit.59565#0026
CARTONS OF RAPHAEL URBIN.
and gratitude which appears in it, is finely balanced by
a mixture of doubt and astonishment; and he seems
scarcely to believe the reality of the blessing he is re-
ceiving. The character of Peter is devout and majestic;
and that of John is full of divinity, and superlatively
graceful; he is represented with the utmost pity and affa-
bility concurring with Peter in this act of true piety and
charity: the rest of the heads in the same group are
finely invented and drawn, particularly that of the old
man leaning upon his crutch, and of him who is looking
over John’s shoulder.
It is remarkable, that the same airs of the head which
Raphael has given to the two apostles, are nearly the
same with those of the man and woman on that side of
the picture; and the action of Peter’s arm is repeated in
the same man with a very little variation ; he has also
introduced another cripple into this groupe, whose cha-
racter is not altogether unlike that of him who is healed ;
but the expression is of another kind, and shews a male-
volence and disinclination to believe the truth of this
miracle; which seems to be one reason why he was
placed behind the apostle, as a situation most properly
adapted to one of his way of thinking; but this figure is
of prodigious use, and is moreover a fine contrast to the
other; and the repetition in the rest is so judiciously
managed, that it has no ill effect; but of this group
particular notice will be taken in speaking of the by-
works or ornaments of this carton.
There is a wonderful expression of malignity in the
character of the man who presses his lips with his finger
in the same group: the woman with the child in her
arms has a character full of expression, is exquisitely de-
and gratitude which appears in it, is finely balanced by
a mixture of doubt and astonishment; and he seems
scarcely to believe the reality of the blessing he is re-
ceiving. The character of Peter is devout and majestic;
and that of John is full of divinity, and superlatively
graceful; he is represented with the utmost pity and affa-
bility concurring with Peter in this act of true piety and
charity: the rest of the heads in the same group are
finely invented and drawn, particularly that of the old
man leaning upon his crutch, and of him who is looking
over John’s shoulder.
It is remarkable, that the same airs of the head which
Raphael has given to the two apostles, are nearly the
same with those of the man and woman on that side of
the picture; and the action of Peter’s arm is repeated in
the same man with a very little variation ; he has also
introduced another cripple into this groupe, whose cha-
racter is not altogether unlike that of him who is healed ;
but the expression is of another kind, and shews a male-
volence and disinclination to believe the truth of this
miracle; which seems to be one reason why he was
placed behind the apostle, as a situation most properly
adapted to one of his way of thinking; but this figure is
of prodigious use, and is moreover a fine contrast to the
other; and the repetition in the rest is so judiciously
managed, that it has no ill effect; but of this group
particular notice will be taken in speaking of the by-
works or ornaments of this carton.
There is a wonderful expression of malignity in the
character of the man who presses his lips with his finger
in the same group: the woman with the child in her
arms has a character full of expression, is exquisitely de-