DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.59565#0028
CARTONS OF RAPHAEL URB1N.
lowing: it was doubtless necessary that the principal
group should not only possess the centre of the picture,
but occupy more space than the others, in order to main-
tain its character of distinction from the subordinate
ones : in consequence of which, Raphael has made the
intercolumniation greater between the first and second
column than between the second and third, a part of
which is cut off by the side of the picture. This being
allowed, it will not be difficult to give what is appre-
hended will be thought a sufficient reason for the repe-
titions before-mentioned; and why the same number of
figures, nearly in the same attitudes (the cripple ex-
cepted), were introduced into this group. It is certain,
that if this part of the picture had been otherwise ma-
naged than it is, by too great a variation of the attitudes
from those of the principal group, the inequality of the
intercolumniation would have been more apparent; and,
consequently, every common observer would have taken
the liberty of condemning it as an oversight in Raphael.
The great artifice, therefore, is concealed in the simi-
litude of the figures which compose these groups : the
same number are employed in both. In the principal
group the whole figure of the cripple is seen ; in the
other the body is large, but being upon his knees, his
legs are hid by the column, and the space occupied by
his hand and arm, which rests upon a staff, is by no
means equivalent to the room gained by the disappearing
of his legs; and yet this staff and limb seem to fill up
the space. The distance from the knees of the cripple
to the column, is greater than that between the feet of
the lame man and the same column; and both being-
near the ground-line or front of the picture, cause a
great deception. The woman with a child in her arms
is similar to John, but she is placed much nearer the
lowing: it was doubtless necessary that the principal
group should not only possess the centre of the picture,
but occupy more space than the others, in order to main-
tain its character of distinction from the subordinate
ones : in consequence of which, Raphael has made the
intercolumniation greater between the first and second
column than between the second and third, a part of
which is cut off by the side of the picture. This being
allowed, it will not be difficult to give what is appre-
hended will be thought a sufficient reason for the repe-
titions before-mentioned; and why the same number of
figures, nearly in the same attitudes (the cripple ex-
cepted), were introduced into this group. It is certain,
that if this part of the picture had been otherwise ma-
naged than it is, by too great a variation of the attitudes
from those of the principal group, the inequality of the
intercolumniation would have been more apparent; and,
consequently, every common observer would have taken
the liberty of condemning it as an oversight in Raphael.
The great artifice, therefore, is concealed in the simi-
litude of the figures which compose these groups : the
same number are employed in both. In the principal
group the whole figure of the cripple is seen ; in the
other the body is large, but being upon his knees, his
legs are hid by the column, and the space occupied by
his hand and arm, which rests upon a staff, is by no
means equivalent to the room gained by the disappearing
of his legs; and yet this staff and limb seem to fill up
the space. The distance from the knees of the cripple
to the column, is greater than that between the feet of
the lame man and the same column; and both being-
near the ground-line or front of the picture, cause a
great deception. The woman with a child in her arms
is similar to John, but she is placed much nearer the