DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.75271#0071
( 59 )
Nor is this contrast only necessary in every particular picture,
but if several are made to hang in one room, they ought to contrail
one another. This Titian considered, when he was making several
pictures for our King Henry VIII. as appears by a letter he wrote
to that prince, which (amongsl others of Titian to the Emperor,
and other great men) is to be found in a collection of letters printed
at Venice, an. 1574. lib. ii. p. 403.
--Et perche la Danae ch' iomandai gia a noftra maefia, Ji uedeua
tutta dalla parte dinanzi, ho uoluto in quefta altra PoeJia uariare, 3
Jarle moftrare la contraria parte, accioche mejca il camerino done hanno
da flare pih gratio/o alla uifia. Toflo le manderd la PoeJia di Perfeo, &
Andromeda che haura un' altra uifta differente da quefte, & coJi Medea,
& Jafone.— --
There is another sort of contrasl, which I have often wondered
painters have not more considered than we generally find, and that
is, making some fat, and some lean people; such a face and air as
Mr. Lock's, or Sir Isaac Newton's, would shine in the bell com-
position that ever Rafaelle made, as to express their characters
would be a tass< worthy of that divine hand. In the cartons there
is one or two figures something corpulent; but I think, not one re-
markably lean; I have a drawing which is ascribed to Baccio
Bandinelli, where this contrast is, and has a fine effect.
Whatever are the predominant colours of the principal figure,
the same in kind, whether stronger or not, must be diffused over
the whole composition. This Rafaelle has observed remarkably in
the carton of St. Paul preaching; his drapery is red, and green.
These you see scattered about in the picture with great advantage
to the whole; for subordinate colours as well as subordinate lights
serve to soften, and support the principal ones, which otherwise
would appear as spots, and consequently be offensive.
The
Nor is this contrast only necessary in every particular picture,
but if several are made to hang in one room, they ought to contrail
one another. This Titian considered, when he was making several
pictures for our King Henry VIII. as appears by a letter he wrote
to that prince, which (amongsl others of Titian to the Emperor,
and other great men) is to be found in a collection of letters printed
at Venice, an. 1574. lib. ii. p. 403.
--Et perche la Danae ch' iomandai gia a noftra maefia, Ji uedeua
tutta dalla parte dinanzi, ho uoluto in quefta altra PoeJia uariare, 3
Jarle moftrare la contraria parte, accioche mejca il camerino done hanno
da flare pih gratio/o alla uifia. Toflo le manderd la PoeJia di Perfeo, &
Andromeda che haura un' altra uifta differente da quefte, & coJi Medea,
& Jafone.— --
There is another sort of contrasl, which I have often wondered
painters have not more considered than we generally find, and that
is, making some fat, and some lean people; such a face and air as
Mr. Lock's, or Sir Isaac Newton's, would shine in the bell com-
position that ever Rafaelle made, as to express their characters
would be a tass< worthy of that divine hand. In the cartons there
is one or two figures something corpulent; but I think, not one re-
markably lean; I have a drawing which is ascribed to Baccio
Bandinelli, where this contrast is, and has a fine effect.
Whatever are the predominant colours of the principal figure,
the same in kind, whether stronger or not, must be diffused over
the whole composition. This Rafaelle has observed remarkably in
the carton of St. Paul preaching; his drapery is red, and green.
These you see scattered about in the picture with great advantage
to the whole; for subordinate colours as well as subordinate lights
serve to soften, and support the principal ones, which otherwise
would appear as spots, and consequently be offensive.
The