DOI Page / Citation link:
https://doi.org/10.11588/diglit.59565#0027
CARTONS OF RAPHAEL URBIN.
signed, and perfectly great and graceful. The fine boy
in the fore part of the picture, who, being unconcerned,
is eager to be going, and pulls the man’s garment, is a
fine contrast to the figure of the cripple; and at the
same time breaks a mass of shadow which would other-
wise have had a very disagreeable effect: this boy is also
contrasted by another, who is led along hastily by a wo-
man with a basket upon her head ; and these, as has
already been observed, give motion to that side of the
picture. The drapery upon this woman’s arm is artfully
swelled and folded towards the elbow, and breaks the
straitness which would have appeared from her action,
and could not but have offended the eye. It will now be
proper to speak of the ornaments, and other accidental
decorations, which are usually called by-works.
The principal of these are the columns; which, with
regard to the picture, are the finest that could possibly
be imagined, and in themselves are a proof of the amaz-
ing genius of Raphael : The effect of the waving line, as
an ornament, is perhaps no where made use of to such
adyantage, nor better proves its gracefulness. To con-
firm this assertion, let any one substitute in their stead,
or ideally substitute the Ionic, or Corinthian, or any
other order; and let it be enriched with flutings, and all
the decorations that can possibly be given to those
orders, and then compare it with Raphael’s. What an
astonishing alteration must ensue 1 How cutting, how
disagreeably heavy will the innovation appear ! and how
very considerably must the picture suffer by the change I
Besides, as the columns were arbitrary, and the painter
had once deviated from the established rules, he was at
liberty to do wnat he pleased ; and therefore Raphael has
apparently made use of this licence for the purpose fol-
121
signed, and perfectly great and graceful. The fine boy
in the fore part of the picture, who, being unconcerned,
is eager to be going, and pulls the man’s garment, is a
fine contrast to the figure of the cripple; and at the
same time breaks a mass of shadow which would other-
wise have had a very disagreeable effect: this boy is also
contrasted by another, who is led along hastily by a wo-
man with a basket upon her head ; and these, as has
already been observed, give motion to that side of the
picture. The drapery upon this woman’s arm is artfully
swelled and folded towards the elbow, and breaks the
straitness which would have appeared from her action,
and could not but have offended the eye. It will now be
proper to speak of the ornaments, and other accidental
decorations, which are usually called by-works.
The principal of these are the columns; which, with
regard to the picture, are the finest that could possibly
be imagined, and in themselves are a proof of the amaz-
ing genius of Raphael : The effect of the waving line, as
an ornament, is perhaps no where made use of to such
adyantage, nor better proves its gracefulness. To con-
firm this assertion, let any one substitute in their stead,
or ideally substitute the Ionic, or Corinthian, or any
other order; and let it be enriched with flutings, and all
the decorations that can possibly be given to those
orders, and then compare it with Raphael’s. What an
astonishing alteration must ensue 1 How cutting, how
disagreeably heavy will the innovation appear ! and how
very considerably must the picture suffer by the change I
Besides, as the columns were arbitrary, and the painter
had once deviated from the established rules, he was at
liberty to do wnat he pleased ; and therefore Raphael has
apparently made use of this licence for the purpose fol-
121