DOI Page / Citation link:
https://doi.org/10.11588/diglit.22422#0384
372
HAMPTON COUKT PALACE.
Letter XXL
during this period, the space of two years and a half (notwith-
standing the aid of his pupils, of whom I shall speak hereafter)
appears very limited for the execution of these cartoons, most of
which are nearly thirteen feet in height and from seventeen to
eighteen feet wide. From the two notices above mentioned we
further learn that the price Raphael received for the whole of the
cartoons amounted to 434 ducats; a sum which, even taking into
account the higher value of money at that period, appears but
very moderate in comparison with the sums which the first masters
of our days receive.
At the time when he commenced the execution of the cartoons
Raphael was thirty-one years of age; consequently in the full
vigour of life, and in the zenith of his powers. This was indeed
especially the case with Raphael, for his was one of those rare
natures which, putting forth the noblest buds of genius in youth,
early unfold their consummate blossom, but also early perish. Six
years more terminated his earthly career. The full and perfect
maturity of his art, as compared with his earlier works, is also
apparent throughout these cartoons. It is marvellous to observe
how completely they are imbued with the clear and conscious
knowledge of those laws indispensable for the attainment of any
definite object in art, combined at the same time with the per-
fect freshness of a free, enthusiastic, and creative imagination,
and with an astonishing energy and elevation of feeling. This
acquaintance with the necessary conditions of art is especially
expressed in the following works. Raphael, well knowing that
the tapestries to be worked from these cartoons would have to
sustain a direct comparison with the ceiling-paintings of Michael
Angelo—the most sublime work of his powerful rival—directed his
efforts to the simplification of the entire compositions, as well as to
that of the single forms and motives, and thus attained a grandeur
unequalled either by his earlier or later works. The proportions
of the principal figures, which far exceed the size of life, show
the master's intention to enable the tapestry-worker to retain as
far as possible the forms and expressions of the original design,
since these larger dimensions admitted also a certain breadth of
outline ; whereas in small figures the inevitable thickness of the
threads precludes all faithful imitation of the delicacy of forms.
In order, also, that nothing might be left to the arbitrary
HAMPTON COUKT PALACE.
Letter XXL
during this period, the space of two years and a half (notwith-
standing the aid of his pupils, of whom I shall speak hereafter)
appears very limited for the execution of these cartoons, most of
which are nearly thirteen feet in height and from seventeen to
eighteen feet wide. From the two notices above mentioned we
further learn that the price Raphael received for the whole of the
cartoons amounted to 434 ducats; a sum which, even taking into
account the higher value of money at that period, appears but
very moderate in comparison with the sums which the first masters
of our days receive.
At the time when he commenced the execution of the cartoons
Raphael was thirty-one years of age; consequently in the full
vigour of life, and in the zenith of his powers. This was indeed
especially the case with Raphael, for his was one of those rare
natures which, putting forth the noblest buds of genius in youth,
early unfold their consummate blossom, but also early perish. Six
years more terminated his earthly career. The full and perfect
maturity of his art, as compared with his earlier works, is also
apparent throughout these cartoons. It is marvellous to observe
how completely they are imbued with the clear and conscious
knowledge of those laws indispensable for the attainment of any
definite object in art, combined at the same time with the per-
fect freshness of a free, enthusiastic, and creative imagination,
and with an astonishing energy and elevation of feeling. This
acquaintance with the necessary conditions of art is especially
expressed in the following works. Raphael, well knowing that
the tapestries to be worked from these cartoons would have to
sustain a direct comparison with the ceiling-paintings of Michael
Angelo—the most sublime work of his powerful rival—directed his
efforts to the simplification of the entire compositions, as well as to
that of the single forms and motives, and thus attained a grandeur
unequalled either by his earlier or later works. The proportions
of the principal figures, which far exceed the size of life, show
the master's intention to enable the tapestry-worker to retain as
far as possible the forms and expressions of the original design,
since these larger dimensions admitted also a certain breadth of
outline ; whereas in small figures the inevitable thickness of the
threads precludes all faithful imitation of the delicacy of forms.
In order, also, that nothing might be left to the arbitrary