DOI Page / Citation link:
https://doi.org/10.11588/diglit.75271#0032
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for not only it makes the reading of them the more pleasant, but
their relations with such additions are sometimes more probably the
truth, than when nothing more is supposed to have happened than
what they might have had express warrant for. Such an improve-
ment Rafaelle has made in the slory of our Saviour's directing St.
Peter to feed his flock, commonly called the Giving him the Keys.
Our Lord seems, by the relation of the Evangelist (at lead a Roman
Catholic, as Rafaelle was, must be supposed to underhand it so) to
commit the care of his church to that apostle preferably to the rest,
upon the supposition of his loving him better than any of them:
Now, though the history be silent, it is exceeding probable that St.
John, as he was the beloved disciple, would have expeded this
honour, and be piqued at his being thought to love his master less
than Peter. Rafaelle, therefore, in that carton, makes him address
himself to our Lord with extreme ardour, as if he was entreating
him to believe he loved him no less than St. Peter, or any of the other
apostles. And this puts one upon imagining some fine speeches,
that it may be supposed, were made on this occasion, whereby
Rafaelle has given a hint for every man to make a farther improve-
ment to himself of this story.
The same liberty of heightening a story is very commonly taken
in pictures of the crucifixion; the Blessed Virgin is represented as
swooning away at the sight, and St. John, and the women, with
great propriety, dividing their concern between the two objects of
it, which makes a fine scene, and a considerable improvement; and
probably was the truth, though the history says no such thing.
In like manner, when the sacred body was taken from the cross,
the Virgin-mother is frequently introduced as swooning away also,
when even her being present is not authrized by the sacred history;
yet it being very probable, that (he that could see her son crucified
(which the scripture says she did) would see him also after he was
dead, it is a liberty the painter not only may, but ought to take.
An
for not only it makes the reading of them the more pleasant, but
their relations with such additions are sometimes more probably the
truth, than when nothing more is supposed to have happened than
what they might have had express warrant for. Such an improve-
ment Rafaelle has made in the slory of our Saviour's directing St.
Peter to feed his flock, commonly called the Giving him the Keys.
Our Lord seems, by the relation of the Evangelist (at lead a Roman
Catholic, as Rafaelle was, must be supposed to underhand it so) to
commit the care of his church to that apostle preferably to the rest,
upon the supposition of his loving him better than any of them:
Now, though the history be silent, it is exceeding probable that St.
John, as he was the beloved disciple, would have expeded this
honour, and be piqued at his being thought to love his master less
than Peter. Rafaelle, therefore, in that carton, makes him address
himself to our Lord with extreme ardour, as if he was entreating
him to believe he loved him no less than St. Peter, or any of the other
apostles. And this puts one upon imagining some fine speeches,
that it may be supposed, were made on this occasion, whereby
Rafaelle has given a hint for every man to make a farther improve-
ment to himself of this story.
The same liberty of heightening a story is very commonly taken
in pictures of the crucifixion; the Blessed Virgin is represented as
swooning away at the sight, and St. John, and the women, with
great propriety, dividing their concern between the two objects of
it, which makes a fine scene, and a considerable improvement; and
probably was the truth, though the history says no such thing.
In like manner, when the sacred body was taken from the cross,
the Virgin-mother is frequently introduced as swooning away also,
when even her being present is not authrized by the sacred history;
yet it being very probable, that (he that could see her son crucified
(which the scripture says she did) would see him also after he was
dead, it is a liberty the painter not only may, but ought to take.
An