DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.75271#0050
carton of healing at the beautiful gate of the Temple; one sees the
place is holy, as well as magnificent.
The large fowl that are seen on the fore-ground in the carton of
the draught of fishes have a good effect. There is a certain sea-
wildness in them that contributes mightily to express the affair in
hand, which was fishing. They are a fine part of the scene.
Passerotto has drawn a Christ's head as going to be crucified, the
expression of which is marvelloussy sine; but excepting the air of
the face, nothing is more moving, not the part of the cross that is
seen, not the crown of thorns, nor the drops of blood falling from
the wounds that makes, than an ignominious cord which comes
upon part of the shoulder and neck. Raffaello Borghini, in his
Riposo, in the Life of Passerotto, has given an account of this
drawing, which, with others of that master (by him also spoken of)
I have.
The robes, and other habits of the figures; their attendants, and
ensigns of authority, or dignity, as crowns, maces, &c. help to ex-
press their dissing characters, and commonly even their place in
the composition. The principal persons and actors must not be put
in a corner, or towards the extremities of the picture, unless the
necessity of the subjeC trequires it. A Christ, or an apostle, must
not be drest like an artificer or a fisherman; a man of quality must
be distinguished from one of the lower orders of men, as a well-bred
man always is in life from a peasant. And so of the rest.
Every body knows the common, or ordinary distin&ions by
dress: but there is one insiance of a particular kind which I will
mention, as being likely to give useful hints to this purpose, and
moreover very curious. In the carton of give the keys to St. Peter,
our Saviour is wrapped only in one large piece of white drapery,
his left arm and breast, and part of his legs naked; which un-
doubtedly was done to denote him now to appear in his resurredion
body, and not as before his crucifixion, when this dress would have
been
place is holy, as well as magnificent.
The large fowl that are seen on the fore-ground in the carton of
the draught of fishes have a good effect. There is a certain sea-
wildness in them that contributes mightily to express the affair in
hand, which was fishing. They are a fine part of the scene.
Passerotto has drawn a Christ's head as going to be crucified, the
expression of which is marvelloussy sine; but excepting the air of
the face, nothing is more moving, not the part of the cross that is
seen, not the crown of thorns, nor the drops of blood falling from
the wounds that makes, than an ignominious cord which comes
upon part of the shoulder and neck. Raffaello Borghini, in his
Riposo, in the Life of Passerotto, has given an account of this
drawing, which, with others of that master (by him also spoken of)
I have.
The robes, and other habits of the figures; their attendants, and
ensigns of authority, or dignity, as crowns, maces, &c. help to ex-
press their dissing characters, and commonly even their place in
the composition. The principal persons and actors must not be put
in a corner, or towards the extremities of the picture, unless the
necessity of the subjeC trequires it. A Christ, or an apostle, must
not be drest like an artificer or a fisherman; a man of quality must
be distinguished from one of the lower orders of men, as a well-bred
man always is in life from a peasant. And so of the rest.
Every body knows the common, or ordinary distin&ions by
dress: but there is one insiance of a particular kind which I will
mention, as being likely to give useful hints to this purpose, and
moreover very curious. In the carton of give the keys to St. Peter,
our Saviour is wrapped only in one large piece of white drapery,
his left arm and breast, and part of his legs naked; which un-
doubtedly was done to denote him now to appear in his resurredion
body, and not as before his crucifixion, when this dress would have
been