os giving the keys, which is very judicioussy ssung in; the three
outmost figures at the end of the picture, the contrary to that where
our Lord is, made a mass of light of a shape not very pleasing, till
that knowing painter struck in a part of the garment of the last
apostle in the group as folded under his arm, this breaks the strait
line, and gives a more graceful form to the whole mass; which is
also assisted by the boat there; as the principal figure in this compo-
sition is by the flock of sheep placed behind him, and which, more-
over, serves to detach the figure from its ground, as well as to
illustrate the history.
The naked boys in the carton of healing the cripple are a farther
proof of Rafaelle's great judgment in composition: one of them
is in such an attitude as finely varies the turns of the figures; but
here is moreover another kind of contrast, and that is caused by
their being naked, which, bow odd soever it may seem at first,
and without considering the reason of it, will be found to have
a marvellous effect: cloath them in imagination; dress them as
you will, the piCture suffers by it, and would have suffered if
Rafaelle himself had done it.
It is for the sake of this contrast, which is of so great consequence
in Painting, that this knowing man, in the carton we are now upon,
has placed his figures at one end of the temple near the corner,
where one would not suppose the beautiful gate was: but this varies
the sides of the piCture ; and at the same time gives him an oppor-
tunity to enlarge his buildings with a fine portico, the like of which
you must imagine must be on the other side of the main ssru&ure;
all which together makes one of the noblest pieces of architecture
that can be conceived.
He has taken a greater licence in the carton of the conversion of
Sergius Paulus, where the architecture will be difficult to account
for, otherwise than by saying it was done to give the contrast we are
fyeaking of: but this will justify it sufficiently.
Nor
outmost figures at the end of the picture, the contrary to that where
our Lord is, made a mass of light of a shape not very pleasing, till
that knowing painter struck in a part of the garment of the last
apostle in the group as folded under his arm, this breaks the strait
line, and gives a more graceful form to the whole mass; which is
also assisted by the boat there; as the principal figure in this compo-
sition is by the flock of sheep placed behind him, and which, more-
over, serves to detach the figure from its ground, as well as to
illustrate the history.
The naked boys in the carton of healing the cripple are a farther
proof of Rafaelle's great judgment in composition: one of them
is in such an attitude as finely varies the turns of the figures; but
here is moreover another kind of contrast, and that is caused by
their being naked, which, bow odd soever it may seem at first,
and without considering the reason of it, will be found to have
a marvellous effect: cloath them in imagination; dress them as
you will, the piCture suffers by it, and would have suffered if
Rafaelle himself had done it.
It is for the sake of this contrast, which is of so great consequence
in Painting, that this knowing man, in the carton we are now upon,
has placed his figures at one end of the temple near the corner,
where one would not suppose the beautiful gate was: but this varies
the sides of the piCture ; and at the same time gives him an oppor-
tunity to enlarge his buildings with a fine portico, the like of which
you must imagine must be on the other side of the main ssru&ure;
all which together makes one of the noblest pieces of architecture
that can be conceived.
He has taken a greater licence in the carton of the conversion of
Sergius Paulus, where the architecture will be difficult to account
for, otherwise than by saying it was done to give the contrast we are
fyeaking of: but this will justify it sufficiently.
Nor