DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.75271#0045
( 35 )
It appears that Rafaelle was fond of Dante; sor besides what be
has done here, he has put him amongst the divines in his dispute of
the Sacrament, to which he had very little pretence; besides that,
he calls the three parts of his poem Heaven, Earth, and Hell.
To return.
In pictures representing the character of some person, if that
person is in the piHure, it is the principal figure; if not, the virtue
he is intended to be chiefly celebrated for as the principal part of
the character is it.
In pislures of humane life, or where some particular lesson is to
be taught, or the like; that which a writer would chiefly insill upon
is to be the principal figure, or group.
In all these kinds of pictures, the painter should avoid too great a
luxuriancy of fancy, and obseurity. The figures representing any
virtue, vice, or other quality, should have such insignia as are au-
thorized by antiquity, and custom; or if any be necessarily of his
own invention, his meaning should be apparent. Painting is a sort
of writing, it ought to be easily legible. There are fine examples
of these in the palace of Chigi, or the little farnese in Rome;
Rafaelle has there painted the fable of Cupid and Psyche, and in-
termixed little loves with the spoils of all the gods; and lastly, one
with a lion, and a sea-horse, which he governs as with a bridle, to
(hew the universal empire of love. Signior Dorigny has made
prints of the whole work.
In portraits, the invention of the painter is exercised in the choice
of the air, and attitude, the adion, drapery, and ornaments, with
respe& to the character of the person.
He ought not to go in a road, or paint other people at he would
choose to be drawn himself. The dress, the ornaments, the colours,
must be varied in almost every pidure. I remember a good obser-
vation of an ingenious gentleman concerning two painters; one
(he
It appears that Rafaelle was fond of Dante; sor besides what be
has done here, he has put him amongst the divines in his dispute of
the Sacrament, to which he had very little pretence; besides that,
he calls the three parts of his poem Heaven, Earth, and Hell.
To return.
In pictures representing the character of some person, if that
person is in the piHure, it is the principal figure; if not, the virtue
he is intended to be chiefly celebrated for as the principal part of
the character is it.
In pislures of humane life, or where some particular lesson is to
be taught, or the like; that which a writer would chiefly insill upon
is to be the principal figure, or group.
In all these kinds of pictures, the painter should avoid too great a
luxuriancy of fancy, and obseurity. The figures representing any
virtue, vice, or other quality, should have such insignia as are au-
thorized by antiquity, and custom; or if any be necessarily of his
own invention, his meaning should be apparent. Painting is a sort
of writing, it ought to be easily legible. There are fine examples
of these in the palace of Chigi, or the little farnese in Rome;
Rafaelle has there painted the fable of Cupid and Psyche, and in-
termixed little loves with the spoils of all the gods; and lastly, one
with a lion, and a sea-horse, which he governs as with a bridle, to
(hew the universal empire of love. Signior Dorigny has made
prints of the whole work.
In portraits, the invention of the painter is exercised in the choice
of the air, and attitude, the adion, drapery, and ornaments, with
respe& to the character of the person.
He ought not to go in a road, or paint other people at he would
choose to be drawn himself. The dress, the ornaments, the colours,
must be varied in almost every pidure. I remember a good obser-
vation of an ingenious gentleman concerning two painters; one
(he