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action of the present composition. They
are connected with those in the other boat MIRACULOUS DRAUGHT OF FISHES. by the raised hand of James who points Saint Luke, Chap. V. Verses 3, 4, 5, 6, 7, 8, 9,
towards it, as if asking permission to assist
them in hauling their net; and the Part“And he went into one of the ships, which was
ners, in the adjoining boat, fall into the Simon's, and prayed him, that he would thrust out principal group by the disposition of their a little from the land, and he sat down, and taught bodies and faces, which are turned towards the people out of the ship.
Simon Peter and our Lord. “ Now when he had left speaking, he said unto In propriety, therefore, this composition Simon, Launch out into the deep, and let down
can be said to form but one single group. your nets for a draught.
The figure of Peter is most divinely “ And Simon answering, said unto him, Master, characteristic of bis feelings at the moment; we have toiled all the night, and have taken no- his countenance is equally divided betwixt thing, nevertheless, ut thy word, I will let down the hope and terror; and his attitude of sup
plication is impressed with an equal warmth “ And when they had thus done, they enclosed of gratitude and reluctant awe at the prea great multitude of fishes, and their net brake.
sence of our Saviour. The attitude of “ And they beckoned unto their partners, which
Jesus is calm and dignified; "there is that were in the other ship, that they should come and help them; and they came and filled both the ships, peculiar to the Christ of Raphael. His ac
grace and divinity in his aspect which are so that they began to sink. “When Simon Peter saw it, he fell down at
tion is beautifully contrasted with the Jesus' knees, saying, Depart from me, for I am a
impetuous terror of Peter; and the sober sinful man, O Lord!
and simple flow of his drapery is in strict “ For he was astonished, and all that were with
unison with his other qualities. him, at the draught of fishes wh.ch they had In the back ground is a beautiful and
expansive landscape, in which the archi“ And so was also James and John, the sons of || tecture introduced, is strictly that of the Zebedee, which were partners with Simon. And age and country.--In the fore ground are Jesus said unto Simon, Fear not, from henceforth some birds that haunt the sea, for the inthou shali catch men.
troduction of which Raphael has been con“And when they had brought their ships to
demned by superficial judges. There are land, they forsook all, and followed him."
likewise sheils, and sea-weeds, scattered
upon the shore. The sublimity of this scene, and the It was the great praise of Raphael that wonderful accuracy with which Raphael he always preserved the features of general hias represented it in all its respective fea- | nature, and never, by pursuing the ideal tures, will be better conceived by a due too far, suffered his representations to be attention to the verses, which we have ex- carried out of the ordinary bounds and tracted from the Holy Testament.
occurrences of life.--His delineation of the The boat in which our Saviour is placed, scene before him was thus required to is in the act of sinking from the immense possess every necessary appearance and quantity of fish on board, and whilst Peter, local image of the Lake of Tiberias at the in evident terror, falls upon his knees, and period in which this miracle was wrought begs Jesus “ to depart from him as a sin. 1-Where the reality was so dignified of ful man,” our Lord answers him, in the what use was fancy? It is by preserving memorable words, “Fear not; from hence- H these general incidents of local scenery, and forth thou shalt catch men.”
the characteristics of our common creation, The address of Peter and the answer of that the sublime is rendered just and acour Saviour constitute the main and leading curate, and the beautiful touching.
the picture suffers by it; and would have PETER AND JOHN.
suffered if Raphael himself had done it. Acts of the Apostles, Chap. 3, Verses 1, 2, 3, 4, is of great consequence in Historical Paint
It is for the sake of this contrast, which “Now Peter and John went up together into the ing, that Raphael
, in this Cartoon, has Temple at he hour of prayer.
placed his figures at one end of the Tem“ And a certain man, lame from his mother's
ple near the corner, where we could not uomb, was carried, whom they daily laid at the suppose the Beautiful Gate to be-But gate of the Temple, which is called Beautiful, to this varies the sides of the Picture, and at ask alms of them who entered into the Temple. the same time gives him an opportunity to
“ Who seeing Peter and John about to go into enlarge his buildings with a fine Portico, the Temple, asked an alms.
and to form altogether one of the noblest “ And Peter fastening his eyes upon him, with pieces of architecture that can be conJohn, said, Look on us.
ceived. “And he gave heed unto them, expecting to Teceire something of them.
“ Then Peter said, Silver and gold have I none; but such as I have I give thee-In the name of Jesus Christ of Nazareth, rise up and walk.”
ELYMAS, THE SORCERER.
Acts of the Apostles, Chap. 13, Verses 6, 7, 8, The above scriptural account which is
9, 10, 11, 12. given of the miracle wi ought by Peter and “ And when they had gone through the isle unto John in the Temple, has been followed in Paphos, they found a certain Sorcerer, a false proall its leading circumstances by Raphael i:
phet, a Jew, whose name was Bar-jesus:
“ Which was with the deputy of the country, this Cartoon. The moment of time is that in which
Sergius Paulus, a prudent man; who called for
Barnabas and Saul, and desired to hear the word of Peter takes the cripple by the right hand,
God. and lifts him up.-Never has the pencil ex- “ But Elymas the sorcerer (for so is his name by pressed a more just or divine feeling than
interpretation) withstood them, seeking to turn that which at this moment is painted in away the deputy from the faith. the countenance of the cripile; the miser- “ Then Sanl, (who also is called Paul,) filled able impotence and wretchedness of his with the Holy Ghost, set his eyes on him, situation are finely rendered in his figure; “And said, 0 full of all subtilty, and all misbut, as if conscious of the power of chi-f, thou child of the devil, thou enemy of all Peter to heal bin in the name of Jesus,
righteousness ! uilt thou not cease to perrert the his countenance is suddenly animated with right ways of the Lord? hope, and he seems preparing to leap for
behold, the hand of the Lord is upon ward in his native strength, and to praise
thee, and thou shalt be blind, not sceing the sun for the wonderful act of God- The calm secu:
And immediately there fell on him a
mist and a darkness; and he went about seeking rity and divine confidence with which the
some to lead him by the hand. Apostles work this miracle are no less ad.
“ Then the deputy, when he saw what was done, mirably displayed.
teliered, boing astonished at the doctrine of the The naked boys in this scene are a fur
Lord." ther proof of Raphael's gieat judgment in composition.-One of item is in such an attitude as finely varies the tuins of the The great object of admiration in the other figures; and there is, moreover, present Cartojn is the figure of the Sor. another kind of contrast which is produced | cerer, Elymas. It is the figure of a man by their being naked.-'This has been ob- struck by the immediate vengeance of jected to Raphael by those who pursue Heaven through the means of Paul, with an reason and propriety too far in some re- instantaneous and incurable blindness ; spects, but not far enough in others.--Not- and in the study and representation of withstanding its apparent singularity, the this character, Raphael bas had recourse effect produced is marvellous-Clothe them to that deep knowledge of the principles in imagination; dress them as you will, and passions of human nature, which forms