DOI Page / Citation link:
https://doi.org/10.11588/diglit.75271#0065
( ^3 )
Van Dyck, that he might keep his principal light near the middle
of his picture, and to advantage the body which he seems to have
intended to exert himselfin, has even kept the head sombrous in an
ecce homo I have os him, which makes the whole have a fine
effe&.
I have many times observed with a great deal of pleasare the ad-
mirable composition (besides the other excellencies) of a fruit piece
of Michelangelo Compidoglio, which I have had many years.
The principal light is near the centre (not exactly there, for those
regularities have an ill effed ;) and the transition from thence, and
from one thing to another, to the extremities of the picture all round
is very easy, and delightful ; in which he has employed fine artisices
by leaves, twigs, little touches of lights (hiking advantageoussy, and
the like. So that there is not a stroke in the pi&ure without its
meaning: and the whole, though very bright, and considing of a
great many parts, has a wonderful harmony, and repose.
The drawing that Correggio made for the composition of his
famous picture of the nativity, called La Notte del Correggio, I
have, and is admirable in its kind: there is nothing one could wish
were otherwise with respeflto its composition, but that the full
moon which he has made in one of the corners at the top had been
omitted. It gives no light, that all comes from the new-born
Saviour of the world, and sweetly diffuses itself from thence as from
its centre all over the picture, only that moon a little troubles the
eye;
The composition of my Holy Family of Rafaelle is not inferior to
its other parts, and the transition from one thing to another is very
artful; to instance only in one particular: behind the Madonna is
St. Joseph resting his head on his hand which is placed upon his
mouth, and chin; this hand spreads that subordinate mass of light,
and together with the coifure of the Virgin, and the little ring of
glory round her head (which contribute also to the same end) makes
H the
Van Dyck, that he might keep his principal light near the middle
of his picture, and to advantage the body which he seems to have
intended to exert himselfin, has even kept the head sombrous in an
ecce homo I have os him, which makes the whole have a fine
effe&.
I have many times observed with a great deal of pleasare the ad-
mirable composition (besides the other excellencies) of a fruit piece
of Michelangelo Compidoglio, which I have had many years.
The principal light is near the centre (not exactly there, for those
regularities have an ill effed ;) and the transition from thence, and
from one thing to another, to the extremities of the picture all round
is very easy, and delightful ; in which he has employed fine artisices
by leaves, twigs, little touches of lights (hiking advantageoussy, and
the like. So that there is not a stroke in the pi&ure without its
meaning: and the whole, though very bright, and considing of a
great many parts, has a wonderful harmony, and repose.
The drawing that Correggio made for the composition of his
famous picture of the nativity, called La Notte del Correggio, I
have, and is admirable in its kind: there is nothing one could wish
were otherwise with respeflto its composition, but that the full
moon which he has made in one of the corners at the top had been
omitted. It gives no light, that all comes from the new-born
Saviour of the world, and sweetly diffuses itself from thence as from
its centre all over the picture, only that moon a little troubles the
eye;
The composition of my Holy Family of Rafaelle is not inferior to
its other parts, and the transition from one thing to another is very
artful; to instance only in one particular: behind the Madonna is
St. Joseph resting his head on his hand which is placed upon his
mouth, and chin; this hand spreads that subordinate mass of light,
and together with the coifure of the Virgin, and the little ring of
glory round her head (which contribute also to the same end) makes
H the