صور الصفحة
PDF
النشر الإلكتروني
[ocr errors][graphic][ocr errors][ocr errors][subsumed][merged small][merged small]
[ocr errors][ocr errors][merged small][ocr errors][ocr errors][merged small]

the basis of the ideal in Art, and which “ Which when the apostles, Barnabas and Paul, whilst it combines the accuracy of repre

heard of, they rent their cloutles, and ran among sentation with the truth of conception, ex

the people, crying out, pands the most common and vulgar object

"And saying, Sirs, why do ye these things? to the dignity of an Epic character.

we also are all men of like passions with you, and Elymas is here sui generis; he stands at preach unto you that ye should turn from these the head of his class; he represents all

vanities unto the living God." blind men that went before him, and all blind men that will come after him.

This Cartoon is a continuation of the The general nature, and most minute miraculous scene which Paul and Barnabas pecularities of the blind man, are all em.

had been acting in the temple, viz. the bodied in this single character !-Not only healing of the cripple. his eyes; but his head, and the elevation of

The people of Lystra, struck with won

der, at the divine cure which had been his countenance; his outstretched hands ; his cautious step; his feet; the general wrought before them, and in the immeposition of his body,“in a word, every of Paganism, exclaim, that the “Gods had

diate phrensy and unmeaning enthusiasm part about him is the member of a blind

come down among them," and prepare to man alone!

make instant sacrifices to their present The character of St. Paul, in this Cartoon

divinities! The ox, decorated with garis finely distinguished from that of the same lands, is led up to the altar ; and, at this moapostle in the Cartoon which represents ment, Paul and Barnabas interpose, de. him preaching at Athens.

Paul is noť here the orator, but the claring who they were, and what was the avenger of God; he points with a consci- || object of their mission, terrified least the ousness of superiority, and a divine, but pure and sacred doctrines of Christ should calm austerity, towards the Sorcerer, whose Paganisin, and eager that their miracies

be contaminated by the absurdities of impiety he had been compelled to punish. I should be referred to that Power alone -There is nothing of undue passion or

from whom they had received authority to exultation in this character.

work them. The terror of Sergius Paulus, and the astonishment of the surrounding group, are

In this Cartoon, the characteristics chief

ly to be admired are the wild and barba. impressed with equal force by the divine pencil of this illustrious Master.--In truth, figure of the cripple in the front group,

rous impulse of the men of Lystra, and the with the exception of the figure of Ana

whose garments is lified up, in a suspicious pias, there is no character, in all the works of Raphael, so distinctly and sublimely order to ascertain whether he were really

manner, by a Pagan of wavering faith, in rendered in all its parts, as the figure of the person whom the apostles had previousthe Sorcerer Elymas.

ly healed.

This figure serves iu an admirable manNo. VI.

ner, to connect the story of the former Cartoon with that of the present.

The figure of the man who is about to SACRIFICE TO PAUL AND BARNABAS. I fell the victim is conceived with astonshing Acts of the Apostles Chap. XIV. Verses 11, 12, grandeur; in his countenance is expressed 13, 14,

all the fury of a false zeal; and in his body,

and the action of his arms, a steady and “ And when the people saw what Paul had

resolute vigour, which serves at once to done, they lifted up their voices, saying, in the speech of Lycaonia, the gods are come down lo us

Nask the passions or his mind, and to disin the likeness of men.

play his prodigious strength. “ And they called Barnabas, Jupiter, and Paul,

The distribution and the classing of the Mercurius, because he was the chief speaker.

figures in this cartoon, are no less admir. Then the priest of Jupiter, which was before able. It is Christianity first brought into their city, brought oven and garlands unto the contact with the wild fury and unthinking gates, and would have done sacrifice with the zeal of Paganism. At Athens, the attempt people,

is made amonget philosophers; at Lystra, it

THE

8

DESCRIPTION OF THE CARTOONS OF RAPHAEL.

is made among the multitude; the former ) It is Christ risen from the dead, and bereject it with the cold contempt and sullen come the “first fruits of them that sleep." arrogance of the stoical school; the latter The Christ, in the Cartoon of the awakened to its prodigious miracles and | Miraculons Draught of Fishes,', is a stupendous truths, are converts in the very || different character from whiat he appears moment in which they proceed to make at present. This figure cannot be de. their sacrifice; they are about to become scribed; it can ouly be felt. Suffice it to the disciples of Jesus, in the very moment say, there is nothing corporeal, nothing of in which they are preparing their rites for the grossness of the human form in our Jupiter. History therefore tells us a truth, Saviour; it is an angelic nature, with a founded not less upon fact and experience, | most divine and exalted beauty, and a dethan upon the reasonableness and general | licacy which does not impair the grandeur course of the human passions. The philo. of the figure, whilst it softens down every sophers of Athens remained Pagans ; the turn of the members, and chastens the l'ayans of Lystra became Christians. flow of the transparent drapery.

The next striking beauty in this Cartoon is a group of the disciples. They seem, as

it were, all gathered together in the moNo. VII.

ment, without ceremony or preparation;

they are inartificially luddled and grouped THE CHARGE TO PETER.

with that impulsive eagerness and curiosity Saint John, Chap. XIII. Verses 15, 16, 17, 18.

which they naturally felt to hear the last

commands of their divine master. So, that when they had dined, Jesus saith to

There is nothing in composition more Simon Peter, Simon, son of Jonas, lovest thou me

perfect than this group. It never was more than these? he suith unto him, Yea, Lord :

excelled for simplicity, nature, and effect. thou knowest that I love thee. He said unto

Every character is distinct; each disciple him, Feed my lambs. He saith to him again the second time, Simon,

iş shadowed out by his peculiar traits, son of Jonas, lorest thou me? He saith unto

and, in his business and attention, he is him, Yea, Lord; thou knowest that I love thee. He

marked with the most wonderful accuracy. said unto him, Feed my sheep.

The back-ground, and general scenery in Ile said to him the third time, Simon, son of which the subject of this Cartoon is cast, is Jonas, lovest thou me? Peter wus grieved because in exact correspondence with the genius he said unto him the third time, Lovest thou me ? and predominating taste of Raphael. It And he said unto him, Lord, thou kouest all | is nature, quiet, local, and exhibiting the things; thou knowest that I love thee. Jesus saith

same appearances, as to the generalscenery, unto him, Feed my sheep.

which she might be conceived to have exhibited at the very spot in which this

incident took place. In this Cartoon, that which is chiefly to

There is no struggle for sublime or artibe admired is the figure of our Saviour. It ia | ficial landscape: the story wanted no setno longer the earthly, the human Christ! ting off; no relief of this kind,

PRE FACE

IN bringing another Volume of our Publication to a close, we are desirous to sequite the extensive patronage we have met witlı, by a renewal of those exertions to conciliate public favour which, when conducted by zeal, and any tolerable judgment, are secure of their ultimate success.

There is, however, an unavoidable sameness and monotony in a Periodical Work, (from its intrinsic nature and quality) which can only be overcome by a vigilance and resolution, which shall dictate such variations and amendments in its general plan, as the improvement of the national taste, and the progressive Quctuations of fashion may continue to prescribe.

EXCELLENCE itself becomes tedious in a long course of the same thing, and a love of Novelty is no less the pride of reason than the passion of human nature.

The Proprietors of Periodical Works are mostly deterred from these improvements, by the dread of new expences, and, frequently from that ungenerous avarice which checks the reins of liberality; which looks to its bond; and refuses to extend beyond its letter;-content, because compelled, to pay with JUSTICE; but never thinking of GENEROSITY.

It is the pride, and he trusts the JUST FAME, of the Proprietor of this Work, that in his dealings with the world, through a long course of public life, he bas never been suspected of wanting that liberality and commercial spirit, which requites the Patronage his various Works have received, by new and unwearied efforts,-efforts which he never suffers to slacken from a dread of fresh labour or new expences.

The present Work, therefore, having been equally encouraged with those which the Proprietor has formerly produced, he feels himself called upon to act with the same spirit and liberality in the conduct and improvement of it; and for this purpose, to introduce some New DEPARTMENTS, and AdditIONAL EMBELLISHMENTS which were not stipulated in his original engagement with the Public, and which he never gave bis Subscribers any reason to expect.

As these Decorations will be EXTRAORDINARY and ADDITIONAL, it is unnecessary to say, that the PRESENT QUANTITY will be continued, viz.-the PORTRAIT, the London and Parisian Fashions; the Music; the PATTERN; and the customary quantity of Letter-press.-The additional OiNAMENTS will consist of

ENGRAVINGS IN OUTLINE OF THE WORKS OF
LIVING AND DECEASED BRITISH ARTISTS.

The motive for this improvement is sufficiently obvious. Something of the knowledge of CRITICISM, and of the qualities of an AMATEUR, is now become indispensable in an elegant and refined education. Whatever may have been our ignorance in these studies formerly, we are now becoming a Nation of Artists AND AMATEURS.–To understand, therefore, the merit and style of our British ScỊool of PAINTING, is now expected from the polished of both sexes. Vol. III.

A

« السابقةمتابعة »