DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.22422#0400
388
HAMPTON COURT PALACE.
Letter XXI.
auditors all the various motives suggested in the text; we even
recognise the different schools of philosophy existing at Athens
at that period, and trace the varied modes in which the words
of the Apostle acted upon his hearers. Careless listening, fixed
attention, deep meditation, silent doubt, momentary and ani-
mated discussion of the matter propounded, joyful conviction,
and, lastly, a complete and enthusiastic self-devotion, are here ex-
pressed in the separate figures, with such distinctness that every
attentive observer must at once recognise them. In the immediate
foreground, opposite to St. Paul, Dionysius, one of the council,
with his wife Damaris, converts to Christianity, are seen hastening
up the steps. In their features is depicted an enthusiastic and
beatific conviction. The circular temple in the background re-
sembles the form of the chapel erected by Bramante in the court
of the monastery of S. Pietro in Montorio, at Rome, and was
perhaps introduced here by Raphael partly from a sentiment of
affection toward his relative.
Execution.—This by no means corresponds with, the elevation of this splen-
did conception ; and I miss the work of Raphael's own hand in this cartoon
almost more than in any other. Many of the heads have a certain degree of
hardness ; the extremities are less understood, as, for instance, in what is
visible of the feet of Paul. The shadows, especially in the flesh, are of a
dark, grey, heavy tone. Many of the draperies (as those of the two ani-
mated figures to the right of St. Paul) are far less complete, and less mo-
delled in the single folds, than in nearly all the other cartoons. The thin
edges of the strangely-twisted prominent parts are immediately next the darks.
The whole of this group, which is very much rubbed, is also peculiarly
heavy in tone. On the other hand, the general effect, produced by the dis-
tinctness of the single figures, by the decided masses of light and shade, and
by the distribution of the local colours, is excellent. Paul stands prominently
forward, distinguished by the full green of his tunic, and the vivid red of
his mantle. The garments of the figures in the middle distance, upon which
the principal light falls, are of light greenish, yellowish, violet-like stuffs,
forming in a light mass fine harmonious transitions. The effect is further
heightened by the forcible tone of the architecture in the landscape. In most
parts, and those the principal ones, this cartoon is undoubtedly executed by
Francesco Penni; but in the front figures Giulio Romano may probably have
had an active share ; Raphael appears to have employed his somewhat too
forcible and warm colouring in the foregrounds as frequently as the more cool
and delicate colouring of Francesco Penni in the other parts.
Condition.—Although, beside the above group, the figure in the shade, on
the left of St. Paul, is much injured, yet this cartoon, next to that of the
Miraculous Draught of Fishes, is in the best state of preservation.
Early Engravings from Drawings.—Marc Antonio, reversed. Bartsch, 14,
HAMPTON COURT PALACE.
Letter XXI.
auditors all the various motives suggested in the text; we even
recognise the different schools of philosophy existing at Athens
at that period, and trace the varied modes in which the words
of the Apostle acted upon his hearers. Careless listening, fixed
attention, deep meditation, silent doubt, momentary and ani-
mated discussion of the matter propounded, joyful conviction,
and, lastly, a complete and enthusiastic self-devotion, are here ex-
pressed in the separate figures, with such distinctness that every
attentive observer must at once recognise them. In the immediate
foreground, opposite to St. Paul, Dionysius, one of the council,
with his wife Damaris, converts to Christianity, are seen hastening
up the steps. In their features is depicted an enthusiastic and
beatific conviction. The circular temple in the background re-
sembles the form of the chapel erected by Bramante in the court
of the monastery of S. Pietro in Montorio, at Rome, and was
perhaps introduced here by Raphael partly from a sentiment of
affection toward his relative.
Execution.—This by no means corresponds with, the elevation of this splen-
did conception ; and I miss the work of Raphael's own hand in this cartoon
almost more than in any other. Many of the heads have a certain degree of
hardness ; the extremities are less understood, as, for instance, in what is
visible of the feet of Paul. The shadows, especially in the flesh, are of a
dark, grey, heavy tone. Many of the draperies (as those of the two ani-
mated figures to the right of St. Paul) are far less complete, and less mo-
delled in the single folds, than in nearly all the other cartoons. The thin
edges of the strangely-twisted prominent parts are immediately next the darks.
The whole of this group, which is very much rubbed, is also peculiarly
heavy in tone. On the other hand, the general effect, produced by the dis-
tinctness of the single figures, by the decided masses of light and shade, and
by the distribution of the local colours, is excellent. Paul stands prominently
forward, distinguished by the full green of his tunic, and the vivid red of
his mantle. The garments of the figures in the middle distance, upon which
the principal light falls, are of light greenish, yellowish, violet-like stuffs,
forming in a light mass fine harmonious transitions. The effect is further
heightened by the forcible tone of the architecture in the landscape. In most
parts, and those the principal ones, this cartoon is undoubtedly executed by
Francesco Penni; but in the front figures Giulio Romano may probably have
had an active share ; Raphael appears to have employed his somewhat too
forcible and warm colouring in the foregrounds as frequently as the more cool
and delicate colouring of Francesco Penni in the other parts.
Condition.—Although, beside the above group, the figure in the shade, on
the left of St. Paul, is much injured, yet this cartoon, next to that of the
Miraculous Draught of Fishes, is in the best state of preservation.
Early Engravings from Drawings.—Marc Antonio, reversed. Bartsch, 14,