CATALOGUE O F ! I C T U R E S, COMPOSED AND PAINTED CHIEFLY BY THE MOST ADMIRED MASTERS O F T H E ROMAN, FLORENTINE, PARMAN, POLOGNESE, VENETIAN, FLEMISH, AND FRENCH SCHOOLS. IN WHICH MANY OF THE MOST CAPITAL ARE ILLUSTRATED BY DESCRIPTIONS, AND CRITICAL REMARKS. HUMBLY OFFERED TO THE IMPARTIAL EXAMINATION of the PUBLIC, ROBE R T FOULIS. IN THREE VOLUMES, VOLUME L L O N T) O N : SOLD at the PLACE of EXHIBITION, am By T. CAD ELL and P. ELMSLY IN THE STRAND. M.DCC.LXXVI.- ' % V VOL. I. CONTAINS CHIEFLY ORIGINAL PICTURES BY RAPHAEL. a 2 PREFACE THE pictures mentioned in the following Catalogue, having been vifited by many perfons, both Bri- tilh and Foreigners, the occafion of collecting them is perhaps fuffici- ently known. Many who have feen them, and who expected nothing in Glafgow of the kind, were not a little fur- prifed on finding fo many pictures of the firft order of every fchool : and were ftill more furprifed on feeing a number of young men ap- plying themfelves to the different branches of the Fine Arts ; to draw- ing, modelling, moulding, paint- ing, and engraving. a 3 vi P R E 1 A C E. Thofe who have feen them at different periods, know both the feeblenefs of their beginnings, and the progrefs that has been made in every branch; namely, in portraits, in hiflory-painting, in engraving, and in the application of drawing to many ufeful arts, both civil and military. But all that can be done by any attempt of private perfons is tem- porary. Human life is too fhort for bringing to perfection thofe arts, which require permanent eftablifh- ments to prevent their decline. This is the cafe with hiilory-painters ; to whofe ftudies no limit can be fet ; but whofe encouragement is of all others the moft precarious. When this enterprife was begun, PREFACE. vii there was little profpedt that any thing of the kind would fo foon be undertaken in any part of the Ifland. The hopes of finding royal protec- tion were fruftrated by the death of the Prince of Wales; who had it much at heart to eftablifh a royal Academy, well furnifhed with the moft capital pictures, and every o- ther means of advancing the Arts : for he knew their intrinfic value, and that they are effential in bring- ing all ornamental manufactures to perfection. His prefent Majefty was then of an age too early for the public to form any judgment concerning his inclinations to encourage and pro- ted: the Arts. It is now to be hoped, that Parliament will concur with viii PREFACE. him in his intentions of this kind, fo frequently and fo gracioufly dis- played ; and when they find leifure from bufinefs that admits of no de- lay, will give that countenance to artiils, which is confiftent with the improvements of a manufacturing country. The eftablilhment of a magnificent Mufeum, for the ad- vancement of true knowledge, en- courages this pleafing hope. As the Sciences and Philofophy are the foundation of every ufeful and ornamental art, it were to be wiihed, that every profefTor of any branch of the Fine Arts had a com- petent knowledge of them ; and were able to read, in their original languages, thofe authors who are the models of elegance and tafte ; PREFACE. ix and whofe writings form" the foul to a relifli for what is beautiful and good in all things. A few eftabliftiments for giving a liberal education to fuch as had given proofs of genius for the Arts, would in time have been productive of good effects. Even thofe who failed in the expectations they might have excited, would ftiil, by help of a liberal education, have found ufe for their talents in other honour- able employments. Attention to the culture of vir- tuous difpoiltions is more general in the middle ranks of life than in the extremes ; and this culture, per- fected by a liberal education, would form artifts judges of, and attached to all the decorums of life. The x PREFACE. liberal arts would become more ge- nerally honourable by the manners of thofe who profeffed them. It was proper, on many accounts, that this undertaking fliould be brought to a period. Two perfons of five, who were originally con- cerned in it, are already gone, and only one remaining who could take the trouble of fuperintending a con-* cern fo full of cares. He alfo too far advanced in life to flatter hiin- felf with the hopes of doing much more fervice by prolonging ; and being acquainted with the particu- lars of the collection, it was judged proper by all his friends, that he fliould charge himfelf with the dif- pofal of the whole. Nor would perfeverance be of PREFACE. xi the fame importance as before ; the Arts being now under the fpecial protection of his Majeily, and the care of a Royal Academy in the ca- pital of the Britifli empire. Yet as learning and virtue arc fo neceflary to artifts, and a tafte for the elegant arts fo neceflary to complete a liberal education, it is to be wifhed, that all Univerfities were alfo Academies ; in order that artifts fhould never be without learning, nor learned men without a tafte for thofe arts, that in all en- lightened ages, have been deemed liberal and polite. Some ages before the reftoration of antient knowledge, learning be- came barbarous; and was for the moft part confined to monafteries kit PREFACE. and to cells. But iince the revival of genius, learned men have ming- led more with fociety, artifts have become more learned, their tafte more refined, and their ingenious labours, by promoting the conveni- ences and ornaments of life, have become more exteniively ufeful. The undertaking that has been carried on in this city, cannot per- haps be entirely juftified upon the principles of the felfifh fyftem, if the pleafure that arifes from endea- vouring to do good be counted for nothing; and if the confeioufhefs of adting with benevolent meaning does not follow us to the other world. What has been already done, makes it fully evident , that the PREFACE. m inore the arts are cultivated, they will become the more perfedl, and the more difRifed. David Allen, who laid the foundation ' of his education here, l is, perhaps, the firft Briton who contended for the prize of hiftory- painting at Rome. This contention was not with young men like him- felf ; but with painters more ad- vanced in life. He gained the firft prize; and diftinguifhed himfelf no lefs by his Prova, done in public, than by his finifhed pidlure. The paftes, by Mr. Tassie, in imitation of precious ftones, are now generally known, as well as his cafts in fulphur. Nor does he confine himfelf to mechanical parts, but imitates original nature with xiv F R E F A C E. fiiceefs. Yet this artiit began by drawing, modelling, and moulding at Olafgow. The art of engraving has been lb little difFufed in Scotland, that Mr. Strange was the firft that di- ftinguifhed himfelf ; and he "un- doubtedly gave fpecimens, before he went abroad, that promifed the reputation he has lince acquired. There have been attempts here in the fame art. The eflays in landfcape that were done by Robert Paul, a little before his death, have that jUmplicity which promifes fuperior excellence. His view of the Weft fcreet, called the Tronegate of Glaf- gow, is the moft capital, as it is the lad of his works ; and was h- PREFACE. xv niflied after his death by William Buchanan. There are a confiderable num- ber of the prints in Raphael's Bible done by the late William Bu- chanan, that fhew his ability as a drawer and engraver. His Paul preaching at Athens, and the other Cartoons he engraved ; and iaft of all Raphael's Transfiguration,which he had near finifhed when he died, done from the pidture reverfed in a mirror, are convincing proofs of his merit. Nor can I negledl, on this occa- fion , to do juftice to James M itchell; who, although the nearncfs of Iris fight difqualified him for a common profeflion ; yet, in a few weeks made a farprifing xvi PREFACE. progrefs : and his engravings, after he attained experience, have been favourably received by the public. Several of his performances in Ra- phael's Bible, are much fuperior, both in conception and execution, to Chaperon. His print of Daniel in the Den of Lions, after Rubensr picture in his Grace the Duke of Hamilton's collection, has been well received. He engraved alio four of the Cartoons, Mount Parnafius, and the School of Athens ; and has la- boured with fuccefs both after Ra- phael and Correggio. The eiTays in original hiflory- painting that have been finifhed are not numerous ; but there are foxne which were done at Rome by Mef- fieurs Cochrane and M 'Laugh- PREFACE. xvii Lane, that do tliem honour: al- though their manners are fo diffe- rent, that their works cannot be compared with propriety. There are fome drawings and pictures by David Allen, before he went abroad, that are done with invention and fpirit ; and are fur- prifing, efpecially at fo early a pe- riod. But I fhall conclude this fubjecl, leaft, by prolonging it, I become tedious. Nor fhall I prefume, at prefent, to mention the names of the illuftrious perfons, whofe pro- tection has done honour to this at- tempt ; lead it fhould feem to pro- ceed more from vanitv than from gratitude. b INDEX of the PICTURES. R A P 1 1 A E L. N° Page 1 Saint Cecilia I 2 The Transfiguration 23 3 The carrying to the tomb 93 4 The fchool of Athens, a copy 145 5 Theagenes and Chariclea 203 6 Theagenes and Chariclea taken by pirates 215 7 The union of piety and charity 223 8 The comfortable death of a good man 233 9 The woman taken in adultery 241 10 The Virgin and Child 245 1 1 The Virgin and Child 247 12 The face of our Saviour 251 1 3 Our Saviour about ten years of age 252 1 4 Our Saviour with a fhepherd s rod in his hand, to denote his paftoral character 253 15 A woman fitting on the clouds 2^4 16 The Virgin 25^ 17 The holy family 256 18 The daughter of the innocents 259 19 The Virgin and Child 262 20 The Virgin fitting in a stove 26 J: xx I N D E X, N° Page 21 The Virgin, with the Child afleep 266 22 A portrait, faid to be Raphael, but doubtful 268 23 The portrait of Ifabella 269 24 The portrait of Mark Antonio, the engraver 270 25 The portrait of Ealthafar Caftigli- one 2*]t 26 The Virgin fliewing our Saviour to St. John 272 27 The holy family 273 28 The Virgin and Child 275 29 The Virgin and Child 278 30 The Virgin and Child 280* 3 1 The triumph of Galatea, a copy 286 32 The refurrection of our Saviour 301 33 Our Saviour wafbing the difciples feet 309 34 A dance of boys 316 3 5 Our Saviour repofing 317 36 The Virgin and Child 3 20 37 The Virgin and Child 3 21 38 A civil Avar battle, of the fchool cf Raphael 322 JULIO ROMANO. 39 The battle of Conftantine.- 3 28 40 Abfalom hanging by the hair of the head to a tree J34 I N D E X. xxl N° Page 4 1 A head of Julius Caefar 336 42 A landfcape 337 43 Lotfleeping 339 44 Saint Francis 340 JOHN COSSIERS. 45 The martyrdom of St. Catherine of Alexandria 343 VOLUME SECOND. N° Page 46 The Virgin and Child, by a Greek painter 1 47 An altar-piece, by Cim abu e 2 PERUGINO. 48 The adoration of the Magi 3 LEONARDO da VINCI. 49 The head of John the Baptift in a charger 4 50 The Virgin and Child 4 5 1 Saint John the Baptift receiving our Saviour's benediction 5 52 The Virgin and Child 8 5 3 The finding of Mofes 10 b 3 xxii INDEX. N° Page 54 The Virgin and Child i 2 M. ANGELO BUONAROTL 5 5 A Bacchanal fubjecl i 6 56 Perfeus and Andromeda 18 57 A pietas 19 58 Lucretia 20 59 Lucretia, enlarged 21 60 Our Saviour on the crofs 22 61 An old head 3 5 6 2 Our Saviour mocked, an old Flemifh picture 23 63 A repiefentation of a famine, an old German picture 24 ALBERT DURER. 64 The Virgin giving fuck to our Savi- our 25 65 Saint Luke painting the Virgin 26 QUINTIN MATSYS. 66 The prodigal fon 29 HOLBEINS. 67 Adam and Eve 34 INDEX. xxlii N 9 Page PRIMATICCIO. 68 A picture from Homer's OdyfTey 3 6 69 Ulyffes carried by nymphs 39 70 Ulyffes killing the fuitors 40 7 1 The adoration of the Magi, of the , Venetian fchool 42 CORREGGIO, 7 2 The Virgin and Child 43 73 Magdalene reading 46 74 The fame fubject 47 7 5 Saint Catherine reading 48 76 Lot and his daughters 49 77 The graces difarming Cupid 52 78 Diana and Endymion 55 79 The holy family, a copy 58 80 The Virgin and Child, a copy 60 8 1 Judas betraying our Saviour, a copy 6 1 82 A penitent Magdalene, painted when young, or a copy 63 83 Cupid making his bow 65 84 A penitent Magdalene 67 85 Three Cupids 68 86 Cupid making his bow 68 b 4 xxiv INDEX. N* Page FREDERICK BAROCCIO. 87 The Virgin and Child 69 8 8 The angels and fhepherds 70 89 An Ecce Homo 72 90 Lucretia 74 91 The holy family 75 92 A female buft 76 ANNIBAL CARACCI. 93 His own portrait 77 94 Neptune puriuing a nymph 77 9 5 The portrait of Cardinal Baronius 8 o 96 David holding Goliah's head 80 97 A caricatura 8 1 98 Our Saviour crowned with thorns 8 2 99 The baptilm of our Saviour 83 100 Magdalene expired 84 I o 1 Our Saviour crowned with thorns 8 5 102 Diana bathing 8 6 103 A young man playing on a guitar SS 104 A fhepherd embracing a fhepherdefs 8 8 105 Chrift dead 89 1 c6 A man writing 89 x o 7 Our Saviour laying in the tomb 140 LUDOVICO CARACCL 1 08 Saint Francis 90 109 A pietas, a copy after Baptift 93 INDEX, xxv N° Page FRANCIS ALBANO. .no A compofition of twelve figures 9 5 1 1 1 The triumph of Galatea, and ~) r 112 The triumph of Cybele, two copies j 113 The birth of Venus 97 114 Acis and Galatea 10 1 DOMENICHINO. 1 1 5 An old man 1 03 I 16 Cephalus and Procris 105 I I 7 Our Saviour fallen under his crofs 107 CARLO CIGNANI. 118 A holy family 108 GUERCINO da CENTO. 119 Saint Jerome reading 109 1 20 Our Saviour among the Doctors 177 121 Saint Paul 188 122 Another Saint Paul 190 123 An Angel delivering Saint Peter from prifon, omitted in the ca- talogue G U I D O. 124 Reprefentation of a miracle 92 125 A holy family no xxvi INDEX. vr° "age I 26 Saint Jerome 1 1 1 1 47 jl lie v 11 111 112 128 The angei delivering Saint Peter 112 1 29 Saint John in the defart IJ 3 I Z O IVlcily lYltlL' ClclICIlC I I 0 1 J I Odllil QCUallMIl 117 132 a iviagQaiene I I O 133 -t tie v 11 gin ana v^niiu. 119 1 -i ZL X 11C V 11 iiiil ICVVillt^ I 20 135 Saint Bruno 121 136 -Magdalene dying I 23 T 9 *7 Our 5>Tvimir in Hip crnrdpTi T O /I 138 Michael chaining the devil 125 139 A Sybil 127 140 Hercules wreftling with Antaeus 141 Hercules killing the hydra 142 Hercules wounds the centaur 143 Hercules placing himfelf on the ^ i 29 funeral pile J 144 Jofeph and Mary travelling into Egypt 130 145 The fame fubjeel: 131 146 A Sybil « 132 147 Saint Francis 133 148 Magdalene in Meditation 135 1 49 Saint John the Baptift 135 150 Saint Catherine of Sienna 136 15 1 A Cupid 137 INDEX. xxvii N° Page I ? 2 The Virgin 1 53 Saint Peter 139 154 The falutation of our Saviour to Saint John the Baptift 297 FRANCE SCO MOLA. 155 T A A 144 P, ATTT^T A MOT A 156 ryramus and liiiiDe 145 *57 aamt Jbrancis dying, or the Bo- logneie or rarman ichool 146 ANDREA del SARTO. A holy family 147 The Virgin and Child 149 I 60 A woman and two children I50 161 A young man playing on a Ger- man flute 20I I 62 An &cce Homo 20I 163 A penitent Magdalene 206 1 04 St. John reading 207 S A L V I A T I. 165 The refurrection of our Saviour 152 166 The companion of the above 152 xxviii T N D E X. N* Page V A S A R I. 167 The bufts of four reftorers of learning 154 CARLO MARATTI. 168 Tobias bleffing his fon 1 5 8 1 69 The head of a young painter 160 1 70 The adoration of the ihepherds 161 171 A woman with the moon under her feet 162 172 Our Saviour and the woman of Samaria 1 63 173 The Virgin and Child 165 174 The holy family 165 175 A human charity 168 176 The aflumption of the Virgin 208 177 A Magdalene 208 LUDOVICUS GENTILE. 178 Our Saviour on the crofs 169 BENEDETTO LUTI. 179 AW oman with grapes 171 Elder TEMPESTA. 180 The victory of Jofhua 172 I N D E X. 29 N° Page Younger TEMPEST A . 181 A battle in the holy war 173 M. ANGELO CARAVAGGIO. 182 A concert of nrufic 192 183 Our Saviour crowned with thorns 1 93 GERARD SEGERS. 184 Saint Sebaftian 194 VALENTINL 18 S The maid of Orleans 196 186 David playing on the harp 197 187 An Ecce Homo 198 188 Mtitius Scaevola 199 189 A man who laughs and drinks 200 GIACOMO CORTES I, called B O R G OGNONE. 190 A battle 202 PIETRO da CORTONA. 191 The affumption of the Virgin '203 192 Argus and Mercury 204 *93 Our Saviour crowned with thorns in the manner of C^iva^gio 205 xxx INDEX. N° Page SPAGNOLET. 194 The four ftages of life 209 1 9 5 Prometheus 2 1 o FEDERIGO ZUCCHERO. 196 The flagellation of our Saviour 211 BENEDETTO CASTIGLIONE. 197 A facrifice to Circe 215 DOMENICO FETI. 198 Science trampling on ignorance 218 L ANFR ANC. 199 A young man 219 200 Saint Jerome 219 CLAUDE LORRAINE. 201 A landfcape 220 202 Another landfcape 222 SALVATOR ROSA. 203 A Woman tied with a chain, and "| 204 A dead body ftretched under a J> 2 23 lamp, night-pieces J 20 c A Tea-engagement ? 3 . . > 224 206 Another, its companion 3 INDEX. XXXI N # Page 207 Saint Jerome 225 208 A head 225 209 William Duke of Aquitaine 2 26 210 A landfcape 227 ANDREA del SOLARIO. 211 An Ecce Homo 228 212 Another Ecce Homo 230 GIORGIONE. 2 1 3 The Virgin in grief 231 214 Gafton de Foix 232 SEBASTIAN del PIOMBO. 215 The miracle of the loaves and fifties 233 TITIAN. 216 Titian's miftrefs 236 217 Mary Magdalene 238 218 Our Saviour crowned with thorns 239 219 The holy family 240 220 The four ftages of life 24 1 221 The embalming of our Saviour, an early picture 243 2 22 The Virgin and Child 244 223 The defcent of the Holy Ghoft 245 224 The final] picture for the akar of Saint Nicolas 246 xxxii INDEX. N°' Page 225 The martyrdom of Saint Peter Martyr 248 226 The fupper at Emmaus 250 227 The fame fubjeft 251 228 Jofeph receiving the .Child 252 229 Venus and Adonis 253 230 Venus fleeping 255 231 Venus fleeping 255 232 A copy after another Venus 257 233 The Graces at a fountain 258 234 A concert of mufic 261 235 Orpheus in the fliades 263 236 The Virgin and Child 264 237 The Virgin our Saviour and Saint John 265 TINTORET. 238 Two women bathing 266 239 Our Saviour taken down from the crofs 267 240 The taking down from the crofs 269 241 The burning of Troy 270 PAUL VERONESE. 242 Hezekiah threatened with death 27 I 243 The wife men of the Eaft 274 244 An entertainment 276 245 The feeding of 5000 2 77 INDEX. xxxiii N° Page 246 The wife men of the Eaft 278 247 The flaughter of the Innocents 279 248 Our Saviour fupported by the Virgin 280 249 The Kings prefenting their offer- ings 282 BASSAN. 250 Two fliepherds with a flock 284 251 Another flock with three fliep- herds 284 252 A night piece 285 253 Our Saviour taken down from the crofs 287 254 The angels and fliepherds 290 255 The fliepherds prefenting their of- ferings 291 256 A rural fcene 292 257 The fliepherds prefenting their offerings 294 258 The rape of the Sabines 294 P iHures omitted in their place. 259 A ftudy of the Virgin, by Raphael 295 260 A copy after Raphael's Galatea 296 261 Innocence, with a lamb, after Correggio 296 c xxxir INDEX. VOLUME THIRD. N° Page 262 A Pietas, an old piclure of the Flemifh Ichool 1 RUBENS. 263 The penny of Caefar 2 264 Mary and Elizabeth 3 265 Our Saviour prefented in the temple 3 266 The converfion of Saint Paul 4 267 An Ecce Homo of Rubens' fchool 5 268 The afiumption of the Virgin 5 269 The taking down from the crofs 9 270 A female figure, with a Cupid holding a mirror 10 271 His own portrait II 272 The portrait of one of Rubens' wives 1 2 273 Magdalene dying 13 274 A Bacchanal proceffion 13 275 The triumph of the church 14 276 Our Saviour, Saint John the Bap- tift, and two infant angels 16 27*7 The Virgin and Child 17 278 The angels appearing to the fhep- herds 1 9 279 Mercury offering peace to the mo* ther of Lewis XIII. a copy 19 INDEX. xxxv N° Page 280 Mary of Medici received by the^ Genius of France, and 281 Mary of Medici, with the enfigns J • of juftice and royalty, two copies J 282 Mars called off to war by Difcord 21 283 The fhepherds bringing their offer- ings 24 284 A burn of our Saviour 24 285 A buft of Saint Paul 25 286 Saint Peter with the keys 25 287 A fymbolical and allegorical repre- fentation of the Trinity 26 288 The Virgin and Child 27 289 The judgment of Paris 2o 290 The refurreftion of Lazarus, pro- bably by the Old Franck 28 291 The adoration of the Magi 3 1 292 The handkerchief of Saint Veronica 37 293 Saint Sebaftian 38 294 Saint Andrew 39 295 The marriage of Cana in Galilee, probably by the Old Franck 40 296 The triumphal entry of Conftan- tine into Piome 4 z 297 A ftudy, two maids of Pharaoh's daughter 43 298 The judgment of Paris, a fmaller picture than the former 118 c 2 xxxv i N° INDEX. V A N D Y C K. Page 299 The portrait of a Flemifh painter 44 300 Two perfons preffing down the crown of thorns on our Savi- our's head, and another mock- ing, a clare-obfcure 45 301 Diana bathing 46 302 A dance of boys 47 303 Two Cupids 47 304 Saint Sebaftian 48 305 Another Saint Sebaftian 4& 306 A head 49 3 07 The body of our Saviour repofing on the knees of the Virgin 50 308 The flagellation of our Saviour 50 309 Our Saviour, a child 52 3 1 o The Virgin and Child 5 2 311 A woman with a pine-apple 54 312 A woman with flowers 54 313 Lady Anne Ruthven, Vandyck's wife 5 5 314 His own portrait 55 315 The judgment of Midas 56 316 The portrait of a perfon of rank 57 3 1 7 Another ; both dreffed as in the age of Charles I. 57 318 A head of Sebaftian Bourdon the painter 57 INDEX. xxxvii N° Page 319 Bathfheba receiving a letter from David 58 320 The portrait of a muficiaix 59 3 2 1 Mary Magdalene 5 9 322 A landfcape 60 323 The portrait of Marfhal Turenne 6 1 3 24 A buft of Lev/is XIII. 61 325 Charles I. on horfeback, a ftudy, in clare-obfeure 62 326 A head 62 3 27 Our Saviour falling under his crofs 63 328 A pietas 66 VAN BALEN. 3 29 The fhepherds prefenting their of- ferings 4 1 330 A feaft of Neptune 46 REMBRANT. 331 The adoration of the ftiepherds 67 332 A head 68 333 An old man writing 69 334 A man writing 70 335 His own portrait, with a bonnet 7 o 336 The fame, with a cap 71 337 A portrait of a man, and 338 A portrait of a woman, compa- ^71 nions, in Rembrant's manner j c 3 xxxviii INDEX. N* Page FRANCIS FLORUS. 339 The woman taken in adultery 72 OTHO VENIUS. 340 The laft fupper 73 GERARD DOUW. 341 An old man, and 342 An old woman, companions 343 The flagellation of our Saviour, of the Fiemifa fchool 7 5 The OLD FRANCK. 344 The crucifixion of our Saviour 78 345 Five joyful myfteries 79 The YOUNGER FRANCK. 346 The three crofles 82 347 The fhepherds prefenting their of- ferings 8 3 348 The fame fubject 83 349 Our Saviour bearing his crofs 125 QJJINTIN MASSIIS. 350 The laft judgment 84 INDEX. xxxix N* Page G R I M M E R. 351 A landfcape 86 S P R A N G H E R. 352 The marriage of Tobit 8 6 C A L V A R T. 353 The fhepherds prefenting their of- ferings 8 7 CORNELIUS BLOEMAR.T. 354 The judgment of Midas 88 3 55 Jofeph and Mary travelling into Egypt 8 8 PAUL BRIEL. 356 A landfcape 89 B R A M E R. 357 Saint Jerome 90 ROMBOUTS. The five fenfes, in five pictures, 358 Feeling, 359 Hearing, 360 Tafting, J> 90 361 Seeing, and 362 Smelling xl INDEX. N° Page The OLD BRUEGHEL. 363 A landfcape 91 364 Another, companions 9* 365 A fair 91 366 A land fc ape 9 2 The VELVET BRUEGHEL. 367 A flower piece 93 POELEMBURG. 368 The entrance of Matthias, Arch- duke of Auftria, into Antwerp 94 369 A landfcape 99 MARTIN DE VOS. 370 The crowning of the Virgin 99 P. de V O O C H T. 371 The fea-fight of Solebay 10 1 372 The Englifh fleet returning to the harbour of Dover 102 V A N L O O. 373 The temptation of Saint Anthony 102 S N E Y D E R. 374 Dead game and fruits 103 INDEX. xli N° Page 375 A wolf in a deer-park, fet upon by dogs 103 Older SNAYERS. 376 A table covered with provifions 104 377 A robbery 105 378 A reprefentation of. the Carnival 113 JORDAENS. 379 The man that blew hot and cold with the fame mouth 105 VAN HEIL 380 Bruffels in flames, by bombardment 106 B E R C H E M. 381 A landfcape 107 TENIERS the Younger. 3 8 2 A merry meeting of boors 7 383 Another, its companion j 1 °^ 384 A chymift in his laboratory 1 08 385 Some Dutch and Flemim boors drinking, of the Flemifh fchool 108 VANDER MEULEN. '386 A battle between the French and Germans 109 xlii INDEX. N* Page VAN B O U C. 387 A kitchen-table I 1 o 388 A ftorm, with (hips perifhing 1 10 389 A cat and dog fharling ill 390 A balket of provifions overturned by a cat 1 1 1 PICTURES of the FLEMISH SCHOOL. 391 A group of old manufcripts 112 392 The table of a Virtuofo 113 393 The holy family 114 394 An old woman with a pitcher 1 1 5 395 A large fketch 115 396 Saint Sebaftian 116 397 The Virgin crowned 116 398 The going down to Egypt 117 399 The vifitation of Mary and Eliza- beth 1 1 7 400 A fkaiting on ice 117 401 A burlefque 119 40 2 The aiTuniption of the Virgin 120 403 The Virgin and Child 1 20 404 The prodigal fon 121 405 His reception 123 406 Our Saviour, about eight years of age 124 407 A man fmoking 125 INDEX. xliii N° Page 408 Our Saviour on the crofs 1 26 409 The fame fubjecl: 126 N. P O U S S I N. 410 Pyramus and Thifbe 127 411 Io turned into a cow 127 4 1 2 Abraham vifited by three angels 127 413 The fchool-mafter of Phalerium 128 414 The triumph of Cupid 130 415 The prodigal fon 130 416 Our Saviour crowned with thorns 130 417 The adoration of the fhepherds 132 418 A Cupid fleeping 132 419 Our Saviour curing a blind man 133 F R I M E N E T. 420 A holy family 133 V O U E T. 4 2 1 The Virgin and Child 133 422 Fame, with the portrait of Lewis XIII. 134 423 The Virgin and Child 134 BLANCHARD Senior. 424 A holy family 135 BLANCHARD Junior. 425 A holy family 135 xliv INDEX. N° Page M I G N AR D. 426 Two lovers 135 427 The Virgin and Child 136 428 The Virgin and Child 137 429 Mary Magdalene 1 3.7 430 The Virgin and Child 137 431 The Virgin and Child 138 De la SUEUR. 432 The Carthufians receiving their charter from the Pope 138 433 The anointing of David 139 434 The martyrdom of Saint Stephen 139 435 The birth of the Virgin 140 436 A head of our Saviour , 140 437 Daedalus and Icarus 141 L E B R U N. 438 Our Saviour crowned with thorns 141 439 Our Saviour in the garden 142 440 A ftudy, a young woman 143 LOIR. Two pictures, companions, reprefenting 441 An intrigue, and 144 442 Its effects 146 443 Our Saviour, a child 147 INDEX. xlr N° C O Y P E L. Page 444 Diana and Endymion 147 445 Pyramus and Thifbe 148 446 A head of a Jewifh Rabbi 148 447 The angel preventing Abraham from facrificing Ifaac 148 448 The Virgin, Jefus, and Saint John 1 49 R I G A U D. 449 The plan of Verfailles prefented to Lewis XIV. 1 49^ De la HIRE. 450 The vifitatlcn of the fhepherds at the birth of our Saviour 1 5 o : 451 Tobias and Tobit 1 5 o 452 The judgment of Paris 15! N A T T O I R. 453 A combat between two kings 1 5 f C O R N E I L L E. 454 The Virgin aad Jofeph finding our Saviour among the doctors 152 455 Saint Thomas putting his hand into our Saviour's wound 152 V I G N O N Junior. 456 The four ftages of life 1 5 3 I xlvi INDEX. N° Page S. BOURDON. 457 The death of Dido 153 453 The nymphs offering drapery to Ulyffes, of the French fchool 154 459 Saint Peter, of the French fchool 154 LANDSCAPES. ITALIAN SCHOOL 155 FLEMISH SCHOOL 156—166 FRENCH SCHOOL 167—170 FLOWER-PIECES. FLEMISH SCHOOL 171— 176 STILL-LIFE PICTURES. FLEMISH SCHOOL 177—180 PORTRAITS. ITALIAN SCHOOLS 181 FLEMISH SCHOOL 182—188 FRENCH SCHOOL 188—192 xlvii THE group of the teacher and fcholars of the mathematics, in the fchool of A- thens, known by the name of Archimedes and his Scholars. This is done by the fame painter who copied the whole picture on the fcale men- tioned in the catalogue; which is not brought to London, on account of its great fize, but will ftili be ordered if wanted. A copy of the Transfiguration, by Cochrane, has been for the fame realon omitted. Venus and Cupid, Diana and Endymion, Daedalus and Icarus, three original compoiitions by Mr. Co- chrane, deferved a place in the catalogue, as did alfo his copy of Guercino's Perfian Sybil ; Mr. M'Lauchlane's large compofition of the Death of Marcus Aurelius, The death of Socrates, and his Penferofo from Milton, and others, deferved a place alfo; but it would have been departing too much from the plan, to have intermixed fo many pic- tures of recent execution with the old. NAMES OF THE PAINTERS, By whom there are pictures in this Collection , with reference to the volumes and pages where they are found. A. Vol. Page. Albano, Francis ii. 95 — 101 Angelo Buonaroti ii. 16 — 26 Andrea del Sarto ii. 147—150,201,206,207 B. Baptift, (aSwifs) i. 93 Baroccio ii. 69 — 76 Baflan, the father ii. 284, 290—294 BaiTan, Leander ii. 285 — 287 Blanchard, fenior iii. 135 Blanchard, junior iii. 135 Bloemart, Cornelius iii. 88 Berchem iii. 107 Bourdon iii. 1^3, 168 Borgognone ii. 202. iii. 155 Bremer iii. 90 Brueghel, the Old iii. 91, 92, 162 Brueghel, the Velvet iii. 93 Brueghel, d'Enfer iii. 1 63 Brun, Charles le iii. 141 — 143 NAMES of the PAINTERS. *K| a Calvart III. 87 Caracci, Annibal 5i. 77 — 89, 140 Caracci, Ludovico ii. 90 Caravaggio, M. Angelo ii. 192, 193 Caftiglione, Benedetto ii. 215 Champagne iii. 190 Cignani ii. 108 Cimabue ii. 2 Corneille iii. 152 Correggio ii. 43 — 68 Colliers i. 343 Coypel iii. 147 — 149 D. Domenichino ii. 103 — 107 Dornv, Gerard iii. 74, 75 Dunain iii. 125 Burer, Albert ii. 25, 26 F. Ferdinand iii. 168 Feti ii. 218 Florus, Francis iii. 72 Francifke iii. 168 Frank, the Old iii. 78,79 Frank, the Younger iii. 8 2, 8 3,125 Frimenet iii. 123 Fouquieres iii. 158, 161, 162. G. Giorgione ii. 231, 23 2 1 NAMES of the PAINTERS. Gentile ii. 1 69 Goltzius ii. 24 Grimmer iii. 86 3 Guercino ii. 109, 177, 188, 190 Guido ii. 02, s ' I 10 1 7Q 297 OS' si H. Hire, De la iii. ico, in, 1 67 Holbeins ii. 24, 1 8 c% 186 Houet iii. 17 c J. John fori iii. 18? Jordaens iii. IOC J Julio Romano i. 028 — 340 L. Lanfranc ii. 210 s Loir iii. I 44.— I 47 Lorraine ii. 2 20—2 2 2 Luti ii. 171 M. Maratti ii. 1 c 8- j — 1 68, 190, 20-8 Maffiis iii. OA Matfys, Quintin ii. 29 Martin de V os iii. 99 Mignard iii. 188 Mola, Francefco ii. 144 Mola,Battifta ii. 145 Morilio iii. 1 3S— 1 3 S > 192 N. Nattoir iii. 151 NAMES of the PAINTERS. O. OthoVenius iii. 73 Farmenfis, or Parmigiano 1.65 Paul Briel Perugino Pietro da Cortona Poelemburg Pourbus Pouffin, Nicolas iii. Pouffin, Gafpar R. Raphael Rembrant Rigaud R.ombouts Ptubens 4 i9> 39 iii. 89 i! - 3 ii. 203, 204 iii. 94 — 99 iii. 1 89, 190 I 27 — 133, 169, 188 iii. 167 — 169 s. Salviati Salvator Rofa Sansfbrat Sebaftian del Piombo Segers, Gerard Snayers, older Sneyder Solario, Andrea del Spagnolet Sprangher Stork 1. 1 — 321. 11. 295 iii. 67 — 7 1 iii. 149 iii. 90 iii. 2—43,118,184 ii. 152 ii. 223—227 ii. 136 ». ^33 ii. 194 iii. 104, 105, 1 13 iii. 103 ii. 22S — 230 ii. 209, 210 iii. 8 6 iii. 156 Hi NAMES of the PAINTERS. Sueur, de la iii. 138 — 141 T. Tempefta, fenior ii. 172 Tempefta, junior & 173 Teniers, junior iii. 107, io3 Tintoret ii. 266 — 270 Titian ii. 236 — 265 V. Valentini ii. 196 — 2CO Van Balen iii. 4 1 , 46 Van Bouc iii. 1 10, III Vander Meulen iii. 109 Vandyck iii. 44 — 66, 187 Van Heil iii. 106 Vanloo, Theodore iii. 102 V afari ii. 154 Veronese, Paul ii. 271 — 289. iii. 18 Vignon, junior Vinci, Leonardo da ii. 4 — 1 2 Voocht, P. de ii. 1 01, 102 "V ouet *33> *34 Z. Zucchero, Federigo ii. 211 E " R R ATA. Vol) I. page 1 5, line the laft,/br height, read breadth. Vol. if. page 307, line 17. for, there were three, read, there were not three. RAPHAEL'S ST. CECILIA, AN original, prior to the famous pidture at Bologna ; formerly in the collection of a nobleman in Flanders ; fince 1752, in this colledion. The pidture is on thick planks of wood, joined on the back by crofs bars, and palled over with canvas to conceal the divifions of the wood. The dim en- lions are, feven feet one inch in height, by four feet feven inches in breadth. In the upper part of- the pic- ture are fix angels, who form a celeftial choir; before them the books are opened , from which they ling their halleluiahs. There are two groups of the angels,: in A 4 RAPHAEL'S the chief group are four; three of whom take hold of a book dif- played. The angel in the centre of the picture, and the one in profile nearefl the extremity of the right fide, are finging in a high key, as appears by the ar- dour of their countenances, and more open mouths. The angel in the centre is feen in front, with a pleafing expreffion of mufical devotion : the other two on each fide of this figure, are waiting to take up their part of the anthem. The angel to the right of thefe three , fee ins juft beginning to open his mouth , to take up his part of the concert. The two other angels, to the left of the picture, are in flia.de : they are filent alfo ; ST. CECILIA. 3 but the one to the right points to the place of the book with his right hand, where they are im- mediately to begin their part. Ra- phael has introduced the ufe of books, to convey more diftinftly the idea of an anthem, joining fong to harmony. The two angels in fliade have % dark draperies on a light ground* The ground on which the chief group are, is more refplendent, and of the fame warm, gold- like colour with the Iky in the Trans- figuration. The draperies of the angels are lighter than the ground: their robes are fiiver- white, delicately diverfified; the one to the right approaching to green. The principal figure in th€ A 2 4 RAPHAEL'S centre, is clothed in white, that refembles the brilliancy of filver, the fhades tending to crimfon* The drapery of the angel to the right of this figure partakes more of the colour of the ground,which is a bright yellow. The laft an- gel , on the right fide of the pic- ture, has a white drapery with a deeper fliade, tending to purple, but hardly perceptible. The books forefhortened, and advancing before the figures , keeps them in a proper medium ; while the dark colour, of the prin- cipal book efpecially, makes the draperies of the angels appear more brilliant. All the figures in this upper part of the pi&ure are little more S T. C E C I L I A. 5 than fketched , that they might have that indiftinftnefs which is produced by diftance; thereby to prevent that divifion of attention, which equal finifliing would have produced in the fpe<5tator. The figures which conftitute the lower and principal part of the pidture are five. St. Cecilia , the chief figure , from which the picture takes its name, is drefled in a robe of cloth of gold , of figured work, the particulars of which are feen indiftinftly. Below this robe is another, thin like gauze, which covers her feet to the toes, under which they alfo are feen indif- tindlly. As inventrefs of the or- gan, flie holds this inftrument in A 3 6 RAPHAEL'S her hands, in its firfl fmall form, thrown obliquely to the left of the picture. Her head is alfo in- clined to the left, while fhe is looking upwards to the place from whence the ceieftial muftc is heard. In the expreflion of her attention is feen her fkill in rau- fical compofition , accompanied with a joyful tranfport, produced by the united effects of elevated devotion and ceieftial harmony. The form of her countenance is beautiful, and the expreflion eafy, fimple, yet fublime, and enga- gingly graceful. It was not the intention of Ra- phael to render this his principal figure the molt perfect in all re- fpedls ; but, as the effed of mu- ST. CECILIA. 7 fic is chiefly perceived in the coun- tenance, he has exerted his fu- blime genius and fuperior art in the air of St. Cecilia's head, in the expreffion of the eyes, and in the form and expreffion of the mouth ; in the attention that marks her judgment, in the tri- umphant pleafure of her fenti- ments , produced by her fkill in mufical compofition ; in the re- finement of her fentiments of de- votion , unmixed with paffion , unmixed with imagination; and joining in the harmony of angels with feraphic piety. Raphael requiring little of the fpedlator of his pi6ture, fudden- ly feizes him with fublime en- A 4 8 RAPHAEL'S thufiafm, if his difpofitions are fuitable. Every fpe&ator who pofTcfTes fuch kind of fenfibility, feels the effe&s of this pidture. Nor is it needful that the fpec- tator bring along with him fkill in painting; fuch difpofitions as are lufceptible of the impreffions of the beauties of original nature, will produce the fame effects. If he comes with a difpofition to find out faults, and to depreciate, this bias will prevent fuch a fpeo tator from judging foundly, and from feeling the fentiments in- fpired by beautiful nature, ele- vated expreffion, and gracefulnefs of manner. It has been obferved that there is an anachronilxu in this pi&ure ; S T. C E C I L I A. 9 and it hath been faid, as an apo- logy, that the five faints here re- prefented, are the patrons of the monaftery for which it was done. Suppofing this to be the cafe, Ra- phael had no choice, but either to decline, or follow the plan of his employers. It is certain, however, that Ra- phael made a drawing of this fubjedt, which was engraved by Marc Antonio; and in the print appear angels with mufical in- ftruments ; which circumftance alone, proves the print to have been done previous to the pic- ture : and perhaps a fight of the print occafioned Raphael's being employed to do the picture; as the fight of a pattern may give io RAPHAEL'S occaiion to working a carpet or piece of tapeftry. The fir ft print of the Transfi- guration was alfo engraved from a drawing, as appears from its many variations and imperfecti- ons, when compared with the fame compofition improved. The younger Mr. Richardfon de- fcribes this picture in his travels ; but it appears from his obferva- tions, that his defcription is not taken from the picture itfelf, but from the print of Marc Antonio, after he had forgot the picture ; for he defcribes the angels as ha- ving mufical inft rumen ts, which is only true of the print. His ob- fervations confift of a number of faults which he finds in the pic* ST. CECILIA. ii ture; not one of which are true of the pidture here, but they are all juft with refpect to Marc An- tonio's print, from which he un- doubtedly took them. He con- cludes his criticifm by affirming, without giving any reafon, that notwithftanding the faults he had found with this picShxre, it was inferior to none of Raphael's, not excepting the Transfiguration. With refpeft to the anachfo nifm before-mentioned, nothing is more common in the works of the painters than anachronifms , that diflionour their fubjedts ; par- ticularly, bringing monks of the different orders into the prefence of the Virgin and infant Jefus, in compliance with the fpiritual va- 12 RAPHAEL'S nity of their encouragers. But in this pidture Raphael brings down a concert of angels, and faints from heaven , diftinguifhed by their fuperior piety and fenfibili- ty, to dignify St. Cecilia, and call forth her virtues. Neareft St. Cecilia, on the left, is St. Auguftin; he appears in profile, with the circle of fan&ity over his head. His hair and beard are of a brown colour, tending to red ; the crown of his head is bald; he holds a crofier in his right hand ; he is drefled in an ecclefiaftical robe, adorned with gold ; his left hand is lifted up in admiration ; his eyes are directed towards St. John, and he feems waiting in fufpence for the ST. CECILIA. 13 anfwer of a queftion, defiring St. John's opinion of the celeftial har- mony ; on whofe countenance is painted a divine extacy, which feems to overpower him almoft to diftrefs: this efFedt is very dif- ferent from that fldlful attention and eafy joy fo remarkable in the countenance of St* Cecilia. Raphael has preferved the fame likenefs of St. John which we fee in his pictures of the Transfigu- ration, and the carrying of our Saviour to the tomb. He is alfo diftinguifhed by his eagle, which is in deep fiiade, and his bill open. The hand of St. Auguftin that is lifted up, has been painted more remote from his breaft, and 14 RAPHAEL'S more to the left fide of the pio | ture ; which would have been j more rhetorical, that is, more vi- vidly expreffive of his admiration j but Raphael flood in need of the place where he firft painted it, to advance the breaii of the Magda- lene a little more to the right of the picture; and he covered this hand firft painted, with a piece of drapery not in the defign of the pidture. This alteration ap- pears from a thumb belonging to the covered hand, which is vi- fible by a near infpe6lion ; and is a pre fum prion of its being prior to the pidture at Bologna, fmce no pentimento can happen after a painter has fully fettled his com- pofition. It may be alfo obferved 9 ST. CECILIA. 15 that this hand is more fully feen than in the Bologna picture, and at a greater diftance from the breaft of Magdalene. On the left fide of the picture is Mary Magdalene. Her right foot is upon a mufical inftru- ment lying on the extremity of the foreground ; her lef c is thrown back; and her toes come very near the loweft part of the fore- ground. In the Bologna picture, her pofition is behind all the mufical inflruments ; the effect of which is not fo good, nor ib agreeable to the painter's intention in ba- lancing the figures of one fide, with the figures on the other, by fimilarity without famenefs a- lb RAPHAEL'S greeably varied into contrail. This obfervation makes it doubtful, notwithflanding the pentimento, whether this pidlure might not be done later than the Bologna one , as improvements are the effects of fecond thoughts- She holds the vafe of ointment in her hands ; her head and neck is covered with a thin drapery of a brown colour ; her robe is of a light red, which appears almoft white, except in the fhade ; the folds are large, and wave in fer- pen tine forms. Her body is feen in profile. In the air of her head there is an unaffumed dignity; no feature of her countenance altered by the mufic; flie feems like one newly ST. CECILIA. 17 arrived, and beginning to liften to what fhe has not had time to comprehend, or feel in its full power. There is a happy eafe of manner in which her head is fupported by her fine neck and floping fhoulders. Her eyes are turned towards the fpedtator; her countenance is not quite in front, but more than three quarters. On the extremity of the pic- ture to the right, ftands St. Paul. His hair is black, his complexion brown, and colouring warm : he is inwardly recollected , endea- vouring fully to poflefs within himfelf the celeftial devotion and harmony. The manly dignity of his appearance is ftrongly diitin- B fl RAPHAEL'S guifhed from the female elegance of the Magdalene, both pre-emi- nent in their kind- He is known by the parchments , and the fword, on which he leans his left hand ; his right is lifted up towards the lower part of his face; his eyes are almofl clofed; his head, reclined downwards, is feen in profile ; his inner robe is green; his red mantle falls down in large folds until it refts upon the ground. On the foreground of the pic- ture are variety of mufical inftru- ments, Scattered, and partly bro- ken; in the midft of which is a bafe viol, the firings of which do not appear. Thefe infcuments are thus fcattered and defpifedby ST. CECILIA. 19 the perfons who formerly refpec- ted and ufed them, and who now fee their inferiority, when com* pared to the mufic of angels. The picture at Bologna has more foreground, by which the mufical inftruments have abun- dance of room, without leaving any part to be fuppofed ; where- as, in this picture, fome parts are cut off by their nearnefs to the extremity. In the picture at Bologna there is a light blue fky in the back- ground, behind the heads of the figures, and afcending up to the clouds on which the angels re- pofe : all this is completely dark in the picture here. B 2 m RAPHAEL'S Alfo, the form of St. Ceci- lia's face is more oval ; and in the pidture at Bologna more round. In this pidture the draperies produce a mod beautiful harmo- ny ; the carnations are of a brown and warm colouring, tranfparent, and altogether worthy of Rapha- el ; and, far fuperior to the co- louring of any of his difciples, prove completely that this is a capital work of Raphael. The identity of the ftyle fhcws as it were his hand-writing y the thoughts, his mind • the fubli- mity of invention, his genius and judgment ; and the pure and no- ble fentiments it infpires, can on- ly flow from thofe he felt when ST. CECILIA. 2t he compofed ; for the nobleft ef- fects of moral painting, are pro- duced by fympathy in congenial minds. If the human foul was formed only a little lower than the an- gels, and crowned with glory and honour, we are then in the difpo- fitions intended by the Creator, when mofl difpofed to join with faints and angels in their harmo- nious fongs of praife and thanks- giving. How properly then is a painter employed, who awakens in the human mind, by his imi- tations, the confcious feeling and exercife of thefe powers, by which we are allied to all that is divine ! B 3 RAPHAEL'S PICTURE OF THE TRANSFIGURATION, on cloth ; feven feet three inches and a half in height, by five feet three inches in breadth : prior to the larger pidhire, on the altar belonging to the monaftery of Montorio in Rome; and former- ly in the colle&ion of Cardinal Richelieu. Although the pidhire here is on a different plan, the difpofi- tion of the figures is very little altered in the great picture. The many variations in other refpe&s will appear in the obfervatioxis that follow. B 4 24 RAPHAEL'S This pidlure and the Roman were both the property of Julius de Medici, afterwards Clement VII; who employed Raphael to execute this fubjeft, as appears by the portraits of his two ne- phews, who are painted at the extremity of the right fide, with expreffions fuitable to their being fpeftators. The pictures of St. Cecilia and the Transfiguration have become fo famous, that Ludovico Dolce glories in having them in Italy. The Abbe du Bos fays, that the laft is little lefs known than the iEneid of Virgil. But an original pidture, like a manufcript, is con- lined to one place: could it be multiplied with the fame advan- TRANSFIGURATION. 25 tage that a book may be printed, and with the fame moderate ex- pence, it would have an immenfe advantage in fpeaking to the eyes the univerfal language of all mankind- This fubjedt prefents fuch a multitude of obfervations, that it is more eafy to be prolix than to be concife ; what I would wifli to do is, to defcribe this picture with fimplicity; and, in the fe- cond place, to point out the diffe- rences betwixt this and the Ro- man pidhire; more particularly thofe which prove the priority of this pifture. We fliall begin with the lower pidhire, and particularly with the group on the left fide. a6 RAPHAEL'S The principal figure of this group is a youth, fubjedt to an epilepfy. This difeafe is diltin- guifhed from pofifeflion by St. Matthew; who lays, that our Sar viour cured all manner of difea- fes; and enumerates thofe who were lunatic, as different from thofe who were poflefled. If we may truft the father's account of his fon, his difeafe was not a pof- feffion , but a lunacy 5 for his words to our Saviour are, " Lord, " have mercy upon my fon ; for " he is lunatic, and fore vexed ; M for oft he falleth into the fire, " and oft into the water." To underftand this pidture, we muft fuppofe, that when this youth was brought to the difci- TRANSFIGURATION. 27 pies, he was free from any attack of his epilepfy ; when they apply to the difciples to cure him, they made known his cafe by narra- tion. This gives occafion to Judas to queftion the truth of their fto- ry ; and to the company who at- tend the epileptic, to take pains to convince the difciples of the truth of their narration. While this is going on, the youth is feized by a fit ; upon this occurrence, thofe of his company who fee his fituation, look to the difciples, and point to the youth; and thofe, who by their fituation do not fee this accident, continue to narrate, to confirm, and to move the difciples by perfuafion. On the foreground Raphael re- -8 RAPHAEL'S prefents the mother kneeling, humbly fupplicating the difci- ples, and pointing to her fon, who is now feized with a return of his fit, and feems to fay, Behold that diftrefs with your own eyes,which you were unwilling to believe. Her face is feen in profile; and flie points to her fon with both hands; her left arm and flioulder are uncovered ; her robe is of a light red colour, and her mantle blue; the light that falls upon the red robe renders it fo white, that all fiercenefs of contrail be- twixt the red and blue colours is taken away. On the right fide of the youth, a woman , who appears to be kneeling, alfo points to the youth. TRANSFIGURATION. 29 She is fuppofed to be his aunt. Her countenance has all the elo- quence of unaffedied diftrefs; ac-i companied with an eager defire of impreffing the difciples with the fame fentiments. Her drapery- is green, without brilliancy; and makes a gentle tranfition from the blue that is near it. Neareft the mother is the epi- leptic youth, fupported by the fa- ther, who prevents his falling to the ground. His only drapery is a cloth of light blue, which, fixed about his wafle , falls down a little below his thigh. The light that falls upon this drapery ren- ders the colour fo different from thofe formerly mentioned , that one is fenfible of the poverty of 3 o RAPHAEL'S language, and its want of copi- oufnefs to exprefs the endlefs ef* fe£ts that mixture gives to colours of the fame denomination : for the painter is thus enabled to pre- fent the fpe6tator with variety, gentle tranfition, fierce contraft, and pleafing harmony in the dif- pofition and union of the whole. In the expreflion of the youth there is no fury : his convulfions, with which the difciples are fup- pofed unacquainted, caufe fur- prife, mixed with pity. His eyes thrown up to heaven, have the exprcfiion of the involuntary pray- er of nature in diftrefs ; his right arm is lifted up, and his left thrown downwards ; his hand fpread, and fingers fo difpofed as TRANSFIGURATION. 3 t to mark the involuntary fpafms ; as the fwelling of his mufcles, marks the convulfive impulies of his diftemper. The father's robe is green , and his mantle yellow; but fo kept under, that the verdure is like that of a dry plant, that has loft its frefhnefs. The eye of the father looks with eager intent- nefs upon the difciples; and his head, bending a little forward , heightens the expreffion. Neither faith nor hope have entirely left him, which ftill are feen in the eyes, and upper features of his face ; but in the expreffion of the mouth, you fee the moment that doubt and anxious fear begin to deject him. 32 RAPHAEL'S In the deep fhade, between the mother and the young woman who points to the boy, there ap- pears the head of a man advan- ced in years, but not yet hoary. He feems thoughtful ; his face is not fo much turned to the difci- ples as his eyes : the fubjedt of his meditation is perhaps the con- fequence of their applying; and the expreffion of his face feems to fay, I fear they will never be able to perform this difficult cure, A little higher in the picture, beyond the perfon juit now men- tioned, there is a man with an earneit countenance, both hands open and lifted up, bending for- ward to the difciples, and looking with an attentive eye, feems ear- TRANSFIGURATION. 33 neft in relating to them how often he had feen him fall into the fire and water. And behind the father, in the extremity of the pidhire, a man, with his right hand lifted up, and mouth open, feems to be confir- ming, with great folemnity and ardour, the truth of the narra- tion. There are three other younger figures remaining, whofe expref- fions have the fame tendency, di- verfified and fubordinate; whom we fhall leave at prefent to turn to the right fide of the pidture. The figure on the foreground of the group of the difciples is St. An- drew, the brother of St. Peter. His robe is blue; his mantle orange 3 G 3 4 RAPHAEL'S approaching to a gold colour. The light falling flrongly on the dra- pery of his right arm and fhoul- der, refembles filver tinged with blue. His hair is grey, and a fmall part of his head bald ; his neck and part of his breaft unco- vered; his right hand holds a book, which is open > he is faid to have been mighty in the fcrip- tures : his left hand is ftretched out and open ; the arm is co- vered with a yellow drapery, the folds of which are finely difpo- fed, in order to render the fore- fliortening eafy and natural. He is jfeated upon the ground j and in fuch a manner as deceives the eye, fo that the cloth entirely difappears, and he feems to be TRANSFIGURATION. 35 fitting on real ground. His right thigh and leg advance obliquely to the foreground of the picture ; his foot refts upon his heel, and appears to be feen all round, the upper part in light, and the fole in fhade. His attitude and looks indicate the fir ft moment of fur- prife, produced by feeing the fi- tuation of the youth. On the extremity of the pic- ture, immediately above the bro- ther of St. Peter, and a little be- yond him, there is a back view of a difciple; who points upward with his left hand, and feems to be afking the venerable perfon neareft him, whether they fhall advife the friends of the youth to go up the hill. The drapery of C 2 36 RAPHAEL'S this perfon, which is a very warm red, would make a very fierce contrail with the blue rob of St, Andrew , but Raphael has interpofed his orange-coloured mantle between, as a middle co- lour partaking of both. The man- tle of this figure is a mixture of red and green, both faint and broken, and comes between his red robe, and the light blue man- tle of the figure he addrefles ; whofe hands are lifted up and open, looking towards the perfon who addrefles him, feeming to fay, I dare not venture to ad- vife. The blue drapery of the figure feen in front, which immediately follows, is much more brilliant. TRANSFIGURATION. 37 His hair is gray ; and his coun- tenance has the character of open uprighmefs, and unaffe&ed fim- plicity: he feems humbled with the confcioufnefs of their prefent weaknefs. Immediately beyond the bro- ther of St. Peter, arifes a middle- aged man ; whofe face is feen in profile ; the hair of his head and beard is black. He looks toward the father of the epileptic, and is furely telling him, that the per- fon who alone could perform the cure, was on the top of the moun- tain ; for , with his left hand, which is neareft the declivity, he points toward the fummit of the mountain. The red mantle of this figure has a broad light up* C 3 3 8 RAPHAEL'S on it; but partakes much more of the brown, than the red dra- pery of the figure formerly men- tioned. The ftrength of the light on this figure is fo managed, as to prevent its coming too far for- ward, by which it would have preffed the figure on the fore- ground ; by having lefs light than it now has, it would not have had fufficient detachment from the back-ground of the pic- ture, nor from the others which are neareft this figure. The four figures that remain of this group have all lefs brilli- ant draperies ; the two lower fi- gures have, the one a brown robe and dark mantle, partaking a little of the lemon colour; and TRANSFIGURATION. 39 the other, a mantle which covers his knee downwards, on which a light falls upon a faint blue, refembling the colour of a night- fky ; his robe is brown, partak- ing of a chefnut-colour. The appearance of thefe two difciples make a fine contrail ; the one venerable with age, the other engaging with youth. In the attitude and face of the old man is feen pious admiration , produced by reflexions on the afflidled object; his hands are lift- ed up and fpread, as one adoring the depth of divine providence in the diftrefles to which mortals are liable. The younger difciple re- fembles St. John, and is probably intended for St.Thoraas ; he ftands C 4 4 o RAPHAEL' S bending forward that he may fee? the convulfions more diftin6lly ; and by inquifitive infpedtion, and intenfenefs of thought, he endea- vours to difcover the caufe of the difeafe. Of the two upper figures, the one to the right is Judas ; his mantle is of a faint blue, of the kind laft mentioned j upon which a faint light falls , which de- taches this perfon from the mountain behind, and from the adjacent figures. Judas, who does not fee that a fit has feized the youth , appears , by the expref- fion of his countenance, to dis- believe, and, with an air of con- tempt, to treat the tlory as fic- tion. TRANSFIGURATION. 41 A difciple, {landing at his left fide, looks about to him with an upbraiding air, and points to the boy in the fit ; as if he was fay- ing, You need only look to fee the truth of the relation. Judas hath turned towards the epi- leptic youth, but his eyes are clofed. Raphael's choice of uniting the two fubjects, puts one in mind of the thought, That it is dangerous to fhew man alone either his greatnefs or his littlenefs, left the one exalt him above meafure, by making him forget his depend- ence ; or the other difcourage him, fo as to quench that ardor of af- piring after the perfection of his nature; which is neceffary to foU 42 RAPHAEL'S fii the intention of his Creator : but by fliewing him both , he learns to be humble without be- ing mean, and to be exalted with- out being proud. The line arts have their fource in the nobler perceptive powers of human nature ; they are there- by fitted to produce noble lmpref- fions on the mind. Thofe works do the greateft honour to a great artiil which have been fuccefs- fully executed on the pureft and moft interefting fubjefts; for the pleafure is allied to, and always partakes of the nature of the fen- timent from which it flows. The fubjedls of thefe pidhires are capable of union, becaufe of the agreement of time and place: TRANSFIGURATION. 43 they are properly united, becaufe the tranfition from afilidtion to confolation is fweet to human na- ture ; every difirefied mind reads thefe words of our Saviour with delight, " Bleffed are they that " mourn ; for they fhall be com- " forted Would not the fubjedt of the lower pifture, if painted by itfelf, make a melancholy one? Can we forbear to feel for the difci- ples, who arc expofed to fhame ? or refufe to fympathize with the father, deeply afflicted with the diftrefles of an only fon ? And how are thefe diftreffes multi- plied, when we look round the group of afflicted relations? Nothing is more fweet to the 44 RAPHAEL'S generous mind, than the remo val of diftrefs from his fellow- creatures ; nothing more afflict- ing than the view of exqxiifite di- ftrefs, which no fpeftator can re^ move. What could be better ima- gined to confole the mind than the union of thefe two fubjefts ? See that difciple , who rifes up with humble dignity, faying, Be comforted) He is upon the fum- mit of this mountain, who will heal your fon, and make joy fuc- ceed to your forrows. The fcene of the lower picture being at the foot of the moun- tain , brings it nearer to the eye of the fpe£tator, and thereby en- gages and fixes his attention. The compofition is fo perfect, and TRANSFIGURATION. 45 contains fuch a beautiful variety worthy of observation, that the intelligent fpe&ator muft be en- gaged to make many ufeful re- flections : after which he will na- turally turn his eye to the upper pidure ; the propriety of which will then more eafily occur to his underftanding ; and he will alio feel this propriety by the elevated confolations it will pour into his prepared mind. Language records pad tranf- a£tions, and can defcribe what the eye hath not feen, and what no painter can paint ; but the fubje6t of this picture, being a divine vifion, in the hand of Ra- phael, it is the triumph of paint- ing: for his endeavour is no lefs 46 RAPHAEL'S than to place the lame before the eye of the fpedtator. Bold attempt ' of a mortal with the frail mate- rials of colours ! How glorious for him, that it is by all efteemcd the beft, as it is the laft of his pictures ! The dark fliade which refts on the declivity of the mountain, fe- parates the lower and upper groups, and gives repofe to the eye; and, by the dark con t raft, heightens the fplendor which fur- rounds our Saviour in his trans- figuration. Raphael has prudently brought the upper fubjeft nearer the eye, by diminishing the height of the mountain: had he done odier- wife) he would have thrown the TRANSFIGURATION. 47 pidture of the transfiguration at fuch a difiance, as would have diminifhed and weakened the re- prefentation .to fuch a degree, as to have produced little or no ef- fect upon the fpedtator. As they are the bed laws in a date that introduce moil good, and admit lead evil ; fo they are the bed rules of painting which produce the belt pictures, with the mod inconfiderable defedts. The privilege allowed to poets is alfo allowed to painters. They may feign what does not contra- dict any edablifhed hidorical re- lation in fubferviency to a noble effedt; and introduce unauthori- zed circumdances where hiftory is filent, In this pidture Raphael 48 RAPHAEL'S places our Saviour in the air, as in the Afcenfion and Laft Judg- ment; and thereby has greatly heightened the beauty of his pic- ture, and rendered the lownefs of the mountain little attended to. The fky is of a warm , and bright yellow colour, refembling the glory that is fometimes, by painters, thrown round the head of our Saviour. It does not ftream in rays from the bo- dy of our Saviour, but is gen- tly diiFufed all around, and ri- fes to greater fplendor in pro- portion as the light falls more ltrongly on the pidlure j yet its fplendor is inferior to the bright- ness of the raiment of our Savi- our; which, one Evangelift fays, TRANSFIGURATION. 49 was white as light, and that his face did fhine as the fun. And here perhaps it will not be improper to mention an ef- fe& of the light of the fun com- ing obliquely on the pidhire, and heightening the expreffion beyond defcription, and beyond the imagination of all who have not feen the picture in that ftate. This choice, in keeping the brightnefs of the fky inferior to the brightnefs of the figure, is agreeable to the hiftory, favour- able to the relievo, and attra£ts and fixes the eye of the fpedtator on the grand and chief objedt. This light is alfo refledted on Mofes, and more brightly on E- lias ; extends in a lefler degree D 5« RAPHAEL'S fo as to make a warm fky on the landfcape to the left of the pic- ture ; and reflected on the fore- ground of the mountain, makes all the parts not illuminated ap- pear more dark. The rays are Wronger than the eyes of the three difciples can fupport. On the right fide of the pic- ture, St. James is placed upon his knees; his body bowed towards the earth \ his head and his hands raifed a little upwards ; his right hand conceals part of his face s his robe is light blue, and his mantle green. His air, expreffive of humble adoration, all natural, and all profound, may perhaps have been feen by Raphael in real Iife 3 in fome devout character. TRANSFIGURATION. 51 The robe of St. Peter is deep blue ; his mantle yellow, ap- proaching to an orange-colour; his hair and beard are grey. He fits upon the mountain ; his left leg is Itretched out towards the left fide of the picture, and the inner part of his foot is feen; his right knee is bowed, and the foot refts obliquely upon the ground; his head, and the up- per part of his body is thrown to the right of the picture; and he feems to lean upon his left elbow; his face is feen in pro- file , turned upwards ; and the eye towards the fpedtator fhut ; the back of his hand covers the other. By his pontion one may fuppofe, that he was looking to- D 2 52 RAPHAEL'S wards our Saviour; but, over- powered by the fplendor, he fliuts his eyes, and lifts his hand to co- ver his face. The robe of St. John is a light fky-coiourcd blue ; his mantle is of a red, refembling the colour of a ripe cherry ; he fits upon the mountain, with his face toward the right of the pidture ; his feet are not feen, and his legs are co- vered with the red mantle ; the view of his right foot is intercep- ted by St. Peter; his left knee is bowed, and refts upon the moun- tain ; a little of the foot is feen in the deep fhade: his face is turned downwards j his left hand ftretched out and fpread, advan- cing towards the eye of the fpec- TRANSFIGURATION. 53 tator obliquely to the left of the picture, is forefhorten'd : the view of his face is in profile; and, ex- cept a little on the left fide of his forehead, is in fliade. In order to defend his face from the light, he has lifted up his right hand, and placed it on the upper part of his forehead ; his arm forming a femicircle, the light falls thorough it upon the blue drapery that covers his breaft. The whole figure is an example of m after ly execution in the forefhortening, in the ma- nagement of the light and fha- dow, in foftnefs of painting, in eafe, propriety , and admirable roundnefs. Altho' the two nephews of Ju<* D 3 54 RAPHAEL'S lius de Medici do not belong to the fubje<5t, they were painted there by the order of that cardi- nal, to fhew the afFe&ion of the uncle, that being painted by the hand of Raphael, and placed in fo capital a picture, their portraits might be preferved to pofterity. They both kneel upon the ground, and are fuppofed fpe&ators of the fcene j and to help us to imagine this, we muft forget that they are the nephews of Julius, and fuppofe them to be Ifraelites by accident on the mountain. The elder is neareft the fore- ground ; and the younger, to be feen by the fpe&ator, is brought nearer the centre of the pidhire. The face of the younger is moftly TRANSFIGURATION. 55 in ftiade ; the light falling only upon the right fide of his brow and hair ; the colour of his robe is red, and the linen of his fhirt is feen extended about his wrifts ; the tips of his fingers touch each other, his hands being lifted up in an attitude of devotion; the air of his head, and the expref- fion of his countenance are de- vout, like one employed in filent prayer. The robe of the elder is nut- brown ; his fhirt appears round his neck and wrifts > his left hand is open towards the fpedtator, and the back of his right is feen, foftly taking hold of his robe. The caft of his eye , the air of his head , and the fpreading of his hand* D 4 56 RAPHAEL'S all denote admiration and devout fupplication. The countenances of both are flender, of pale com- plexions, and without beards. No part of thefe figures is cut off by nearnefs to the extremity of the cloth , there being fpace down to the knees beyond the fi- gure neareft the foreground; the long robe prevents the form of the thighs from being feen; and the legs going to the right, are only fuppofed, Behind thefe two nephews is a fmall grove of trees, which rife tapering in a pyramidical form. On the right of our Saviour is Mofes ; raifed up into the air, yet considerably lower than our Sa- viour. His robe partakes of a fea- TRANSFIGURATION. 57 green colour, the lhades tending to purple; his hair and beard are grey; his head is thrown back, and looking upwards ; his fore- head is more fully feen than the lower part of his face, which is almoft a profile ; his hands fup- port the tables of the law; his right knee is bowed, and his left a little alfo ; his drapery is blown by the wind towards the right of the picture. His whole attitude is expreflive of reverence to our Sa- viour. Elias has a fky-blue drapery, on which the light falls fo ftrong, that the real colour is beft difcer- ned in the fliade. Below this dra- pery is another, that appears on his wrifls and breaft, of a red co- 5 S RAPHAEL'S lour, covered with light. Before his breail there is a book, the lower part of which is fupported by his left hand , and the upper is taken hold of by the right. He is looking upwards with great attention to our Saviour ; his face is feen in profile; his hair and beard are grey ; his right knee is bent, and thereby his leg is raifed, and his foot thrown back; his left leg is nearefl the eye, and feen in front ; the foot and toes coming forward. In the figure of Elias there is a pentimento; that is, the painter, after he had begun to paint a member in one place, not being pleafed with the efFe6t, altered his opinion, and painted it in ano- TRANSFIGURATION. 59 ther, leaving the marks of his painting where he had firft be- gun. One who copies a pidlure is folely occupied in imitating what is before him, and has no right to introduce any thing new from his own fancy: a pentimento, therefore, belongs only to an ori- ginal painter, who paints from the ideas of his own mind; and he is more liable to thefe altera- tions before he has fully fettled the minuter parts of his compo- fition. Thefe pentimentos abound in original Iketches, drawings, andbotzos; and alfo occur more frequently in the firft enlarge- ment of pictures: and when they are difeovered, contrary to the in- 6o RAPHAEL'S tention of the painter, are eviden- ces fo much the ftronger; as all fufpicion of impolture is taken, away. This pentimento occurred to Raphael in painting the right foot of Elias, which is thrown beyond the other ; he had begun to paint it near the left, but obferving it would have a better efFedt if llretched to a greater diftance, he began it anew ; and in his fecond effay, he had begun to paint the forepart of the foot nearer to the right of the pidhxre than where it is now painted; this appears from the firfl: adumbration of the foot, without light or fliadow, which remains in the place where he firfl began to paint; and from TRANSFIGURATION. 61 the light adumbration of the forepart of the foot in the fecond effay. Both of thefe are covered with warm yellow Iky ; were unobfer- ved for above twenty years, and would never have been taken no- tice of at all, if the engraving the pi6ture had not occafioned its be- ing brought to a ltrong light, and very narrow and particular in- fpedlion. It was dif covered by a painter while he was making a drawing of the principal figure, A painter is like the author of a book ; when he repeats a pic- ture, he alters and adds at plea- fure: thefe alterations and addi* tions prove pofteriority, and the want of them priority, equally in both. 62 RAPHAEL'S The higheft figure in the pic* ture is our Saviour, felf-fupported in the air. His drapery, except in fliade, appears a pure white 5 he is feen in front, a little turned to the right ; his feet are without fandals; his left leg is thrown back obliquely to the left of the pidhire, and in fhade; the light falls upon his right foot, and the uncovered part of his leg is fha- ded by the drapery ; his arms are Itretched out; his hands lifted up and fpread ; his drapery is partly blown by the wind to the left, the lhades of which are blue, His head is covered only with his hair; his countenance is young; his eyes, and every feature, are fixikingly exprefiive of goodnefs, TRANSFIGURATION. 63 and of a divine ferene felicity ; executed in a manner more re- fembling infpiration than human art. The idea according to which he painted mult have been di- vinely fublime ; the power of ex- preffing fuch an idea upon can* vas aftonifhing ; the manner no lefs furprifing by its delicacy and fimplicity j for it feems to have been produced with little labour; nor can the art by which he pro- duced fo marvellous an effe6t be traced: it has this charafteriftic of the fublime, that it always pleafes ; and always ftrikes the mind with pure and divine fenti- ments. Here it may be properly in- 64 RAPHAEL'S quired, What time of the trans- figuration has Raphael chofen for his picture? The anfwer is, To- wards the end; immediately af- ter hearing the divine voice: for it was upon hearing it that they fell on their faces: this appears evident from the fifth and fixth verfes of the feventeenth chapter of St. Matthew. " While he yet " fpake, behold a bright cloud, " and behold a voice out of the " cloud, which faid, This is my " beloved fon in whom I am well " pleafed, hear ye him. And when " the difciples heard it, they fell " on their faces, and were fore " afraid." And immediately af- ter it is faid, " That Jefus came " and touched them, and faid, TRANSFIGURATION. 65 « Arife, be not afraid." This whole narration fhews evidently, that the time of the picture is foon after hearing the divine voice. Having finifhed the defcription of the picture, we beg leave to offer a few reflections, God has fo connected divine things with human, that it is ve- ry often out of our power to point out any line that divides them. The wonders of providence are unceafing ; yet, without record, they are loft in oblivion. In the early ages of mankind thefe records were unlettered ftones or hieroglyphics, that be- came obfolete and unintelligible E 66 RAPHAEL'S when the key that opened them was loft. The knowledge of letters fur- nifhed the means of recording whatever is ufeful or pleafant to mankind : and the art of paint- ing, by addreffing the eyes,fpeaks the filent and univerfal language of nature; and makes more or lefs impreffion on all mankind. Like mufic, poetry and eloquence, It may be abufed ; and, like them, it may be rendered fubfervient to virtue and happinefs. To how many millions of men has this very pi6lure been known ? And certainly fo divine a fubje6t could not be called to mind by fo many without fome good im- preffions: for the fubjed of the TRANSFIGURATION. 67 transfiguration was to them who faw, and is ftill in fome degree to thofe who believe, a foretafte, a pledge, or image of that life and immortality, which St. Paul fays, is revealed by the gofpel. And indeed , the conviction of it ought to be co-natural to the hu- man mind, becaufe life eternal is connedled with the knowledge and love of God. When the human foul has at- tained to the divine refemblance, it fpurns at evil, and embraces all good. It difcerns the differ- ence between an animal and a divine life ; and knows that the one is corruptible, and the other immortal. But this is the lot of few of mankind. The molt noble E 2 68 RAPHAEL'S reafonings on the fubjedt of im- mortality require greater pene- tration and judgment than the bulk of men poffefs. And who was there ever fo enlightened , that did not long for a divine teacher ? By the law of Mofes all evi- dence was to be by the mouth of two or three witneffes. This mi- raculous vifion our Saviour in- tended to be recorded, as appears by his injunction , that they fliould tell the vilion to no man until the Son of man be rifen again from the dead. In what a glorious point of light does the transfiguration and refurre6lion of our Saviour place the Chriftian religion to all who TRANSFIGURATION. 69 believe ! And who can doubt the veracity of thofe evangelifts, who record their own weaknefies, their own imperfections, and their own fhame, without difguife, without extenuation ; with fimplicity of words, and pure fimplicity of heart ? Having attempted to defcribe the picture of the transfiguration before us, we fliall now endea- vour to point out the chief difr ferences between this and the Roman pidture. This attempt would be lefs incomplete, and lefs inaccurate, were the two pic- tures placed by each other. We fliall begin our enquiry with the foreground ; which is E 3 7 o RAPHAEL'S conliderably larger in the great picture, and altogether of a dif- ferent form. More than one half to the left fide is illuminated with a ftrong light; which, in the pic- ture before us, is wanting or al- together dark: this foreground, for above one half to the left, of the Roman picture , is adorned by a flowery vegetation • on the picture here, there is little vege- tation , and the verdure is very imperfect and barren in its ap- pearance. Before St. Andrew, on the right, water appears in the Roman pic- ture, and light reflects on the water: in the picture before us, there is no water. Below the book of St. Andrew TRANSFIGURATION. 71 there are two round bags, which appear to be leather, and upon thefe he alfo fits : there is only one in the pidhire before us. His mantle advances to the left of the pi<5hire conliderably be- yond his right foot which is ftretched out , on which a light falls : in this picture the folds are different, and in fliade. The folds of the drapery of this figure are more numerous ; but in the picture here they are fewer , and appear more com- pletely beautiful. There are parts of the mantle in the light, which are in fhade in the pidture be- fore us. The mother is at a confidera- ble diftance from the extremity ? E 4 72 RAPHAEL'S in this picture the left foot, which appears behind, comes fo near to the extremity of the cloth, that he had not room left to paint the toes. In this figure the numerous folds of the drapery in Dorigny's print have a difagreeable effedt; which would have made me fuf- pe6l his fidelity, had they not been the fame in the print of Thomafin ; in the picture here they are different, not fo nume- rous, and the efFedt more grace- ful. The drefs of her head is more particular, and the light ftronger that falls upon it, than in the pidture before us ; which is fo moderate as to approach to lhade. TRANSFIGURATION. 73 In the extremity, to the left of the foreground, there is a piece of rock broken perpendicularly down: in the picture here there is no rock. The youth, to exprefs poflef- fion, is furious ; he is of a llrong Herculean make ; his mufcles fwell more, and the fingers of his left hand are drawn further back ; his figure and expreffi- on infpire terror, yet none ap- pear to be afraid ; which is per- haps owing to the picture's be- ing firft planned without any ob- ject of terror: for in the pidture before us the epileptic is not terrible, he is not ftrong, he is not furious ; nature in him feems to call for aid in the laft moment 74 RAPHAEL'S of confcioufnefs, before he falls down into infenfibility ; there to remain till the reviving moment return. The father who fupports him appears in defpair : not fo in the pidhire before us; faith, hope, and the defire of having his fon cured, flill remain ; while fear of difappointment, approaching, be- gins to feize the lower part of his face. The perfon who narrates his cafe, has a different form of coun- tenance; he wants the naivete, and has fomething like grimace : and, in all thefe refpefts, remo- ved from the honeft fimplicity of this figure in the pidture here. Yqt both Thomafin and Dorigny TRANSFIGURATION. 7 $ concur in giving the lame like- nefs, not only to this figure, but, with little or no variation, agree in their reprefentation of the whole pi ft ure. The man who lifts up his hand to confirm the narration, wants that dignity of chara6ter, which we fee in the picture be- fore us. He has an uncivilized, and even wild air. There is alfo fomething different in the arm and hand, and in its pofition. Behind this figure there is a woman, who looks over his fhoul- der ; her left hand takes hold of the drapery that covers her head, which is of a blue colour; her head inclines to the right; her mouth is open, and her eyes are 76 RAPHAEL'S directed towards the difciples. This head in the pi6ture before us is beautiful, and the exprefiion is nature. The lifted-up hand of the lafc-mentioned figure, being more oblique in this picture, af- fords her head a larger fpace, and is more removed from his arm ; the form of her face is longer; and the drapery on her head of a darker colour : nor does this fi- gure ftand fo high on the moun- tain as in the Roman picture. In the higheft and moft re- mote part of this group, there is a young man; whofe left hand is lifted up behind the lifted-up arm of the man who confirms the narration ; it is a back view pf the hand : the head is thrown TRANSFIGURATION. 77 towards the mountain, the eyes looking upwards. The place in which the head is painted is lower in this pifture. The figure is al- tered in the Roman picture ; and the reafon of the alteration is ob- vious ; for as it Hands in the pic- ture here, neither his face nor his looks are directed to the difciples j but, by the alteration, he is made to join in the addrefs to them. Let us now turn to the group of difciples on the right of the picture. The difciple to the right, at the back of St. Andrew, does not approach fo near the foreground, and is more in profile ; there is a greater length of his back feen j there is no divifion of the hair ; 78 RAPHAEL'S and there is lefs light on this fi- gure than in the Roman picture. In the following figure, who ftands and points up the hill , there are folds upon the right fhoulder , where there are none in the pi&ure before us. In the*young difciple who im- mediately follows, all the drape- ry, from his elbow to his foot, is kept back by means of a very deep fhade, which difengages it from the llretch'd-out arm of St. Andrew, and brings forward the thigh and leg of the venerable old man who fits by him; whofe light drapery, tending to blue, forms a contraft. And the heads of thefe two figures are fo beau- tiful in the pidture here, form fo TRANSFIGURATION. 79 delightful a contraft, and are fo very different in the prints, which agree together, that we cannot prefume to account for the vari- ation, without fuppofing them done after different models. There is more light thrown on the five remaining heads of this group, than in the pidture before us. The fecond figure, whofe hair is dark , is reprefented by the prints to be a light grey in the Roman picture. The figure which follows is the one who points up the moun- tain; in the prints his hair is dark, and beard grey: in the picture here both are dark. In the prints Judas's hair and 8o RAPHAEL'S beard appear to be grey: in the pi6ture before us they are dark brown* In the prints Judas's face is near a front view : in this pic- ture it is almoft a profile. The hair and beard of the dif- ciple who upbraids Judas are re- prefented as black in the prints j in the pidlure before us the co- lour and light are the fame. The prints give ftrength and finifliing to the trees ; which are very flightly painted in the pic- ture before us. They have alfo fhrubs where there are none, par- ticularly behind St. James ; and the trees have different relations to the figures than in the pidlure here. In the prints the right hand TRANSFIGURATION. 81 of the eldeft nephew is fo near the extremity of the right fide of the picture, that three fingers are hardly feen: in the pi&ure be- fore us the whole figure is com- plete, the hand differently turned, and at leaft an inch from the ex- tremity of the cloth. The forms of their faces are different, roun- der, plumper, and older than in the picture here. Alio the grove of trees under which they kneel is different. In the great picture the fky which makes the background of the upper pidture is brighter than the figure of our Saviour himfelf ; the rays of light flream from his body ; there is alfo a fwell of clouds, a clearnefs tending to F It RAPHAEL'S blue, and a different form of the whole Iky. In this lefier pi&ure there is an univerfal glow of warmth iiV the fky, refembling the colour of gold, not near fo bright as the raiment of our Sa- viour; and no light ftreams from his body. In the landfcape to the left of this picture, the fir ft object that occurs is a group of buildings of a brick colour; the light falls upon them , and contrails with the dark fhadow on the herbage of the mountain. To the left of the buildings there is a riling ground, on which a gentle light falls, that is ftrongefl: on the fum- mit; this ground is of a brown colour, but not fo remote from TRANSFIGURATION. 83 the green as the brick buildings. Behind thefe objedts there is wa- ter, over which there is a bridge: this water is probably a river that goes round the back of the moun- tain ; the windings conceal its fource and termination. To the left of this river there is a penin- fula ; which rifing in a circular form, feems covered with wood : upon the higheft part there is a round tower : the light which cdmes from the right fide of the picture falls upon this eminence and tower. Immediately behind* and going towards the left, there is a diiiant grove all green* Over- againft the sky, on the rernoteft part of the picture to the left, ap* pear the leafy branches of an 04 RAPHAEL'S oak, the trunk not painted, but fuppofed : the intention of which is to throw back the objects in the landfcape. Beyond the grove there is mountainous ground, of a dark green colour; terminated on the right by the water, and on the left by the extremity of the picture. On the right of this eminence appears a diftant vil- lage partly in ruins. The land- fcape terminates with a warm sky, worthy of Claude Lorraine. The objects of the landfcape in the Roman picture, according to the prints which agree, are al- moil all different, and alfo in the arrangement of the whole. The prints agree in the form they give to the left fide of the TRANSFIGURATION. 85 mountain ; in the pidiure here it is not fo perpendicular, nor fo irregular and ragged. In the prints the eye-brows of Mofes are remarkably fevere ; and the knee of the right leg is cor- nered like an angle: but in this picture the drapery is fo managed as to give it a more agreeable form. The head of Elias is thrown more to the left, backwards ; and his countenance and eyes are di- rected more upwards than in the prints, and more expreflive of at- tention and veneration. The intention of the tree by Elias has no connection with the fubjedt ; and in the prints it ap- pears an obftrudtion, being fo 86 RAPHAEL'S near Elias that he feems almoft to reft upon it : whereas, by the manner it is painted in the pic- ture before us, he is completely above, without its touching him ; it alio anfwers the intention of rounding the mountain, contrail- ing with the bright £ky, and giv- ing diftance to the landfcape. As the plan of Raphael in his laft picture was to reprefent not a lunacy, but a polleffion ; fo, in the upper pidlure , his intention was to reprefent the countenance of our Saviour with all the great- nefs admired in Michael Angelo, combined with that fweetnefs and grace, in which he furpafied him and all other painters. Vafari hints that this was Ra- TRANSFIGURATION. 8'; phael's defign, but in words that are unphilolbphical and impro- per*; nor painting, nor poetry, nor any thing can exprefs what cannot be conceived.Mortals know not the eflence of any thing; how then can they know the eflence of the Deity ; or the manner of * Dipinfe a Giulio Cardinale de' Medici, c Vicecancelliere, una tavola della trasfigurati- one di Chrifto, per mandare in Francia, la quale egli di fua mano, continuamente lavo- rando, riduiTe ad ultima perfettione ; che aprendo le braccia, et alzando la tefta, moftri Ja effenza, e la deita di tutte le tre perfone uni- tamente riftrette nella perfettione dell'arte di Rafaelle, il quale pare, che tanto il reftrignef- fe infieme con la virtu fua, per moftrare lo sforzo, et il valor dell'arte nel volto di Chri- fto, che finitolo, come ultima cofa, che a fare havefle, non tocco piu penelli, fopragiungen-* la inorte. Vasar. Vite Vlttosl 88 RAPHAEL'S his exigence from whom all things proceed? In iubferviency to this new plan , Raphael has reprefented our Saviour much older. This is evident not only by all the prints engraved after the Roman pi6ture, but by two different pic- tures of the refurreftion of our Saviour; in both which he has irfed the fame countenance as in the Roman pi6lure of the transfiguration. This likenefs appears in one of them by the conformity of the prints; in the other by an original picture of the refurredtion of our Saviour by Raphael, which at prefent hangs near his picture of the transfiguration before us. TRANSFIGURATION. 89 Thefe two pictures of the re- furredtion are not copied from one another ; for they are not of the fame form, nor is there a fingle figure or attitude of any of the foldiers the fame. In the pic- ture of his refurre<£tion here, he is raifed up into the air above the tomb; his left hand holds the enfign of victory, and his right is lifted up in the fame manner as in the transfiguration, but lefs extended and more elevated. If it is not too much prefump- tion to offer an opinion on this fubje6t, I would prefume to afk, Whether every attempt in paint- ing to dignify the human coun- tenance beyond the limits of hu- manity, is not accompanied with 9 o R A P H A EL'S more or lefs fe verity ; and this inlpiring fear, or even terror, muft be lefs delightful than a counte- nance only expreffive of goodnefs and celeftial felicity ? The human features are more fitted for the laft ; and painting can reprefent nothing purely in- tellectual feparated from matter. The powers of imagination itfelf are limited; and painting can on- ly reprefent the intellectual, mo- ral, and divine qualities of mind by expreffing the effcCts they have or may have upon the human body: to pretend to more is to be ignorant of the limits of human power and human art. Whoever examines this pi&ure with attention may difcover what TRANSFIGURATION. 91 pains it coft the author; for the whole furface, by frequent re- touching, rifes in the figures like a baflb relievo; there is a truth and fimplicity proceeding from a patient and deep ftudy of nature, which rather prevents furprife at the firft view of the picture, but produces a growing admiration in the minds of thofe who love fimplicity, and the genuine beau- ties and unaffected graces of truth and nature. RAPHAEL'S PICTURE OF THE CARRYING of our SAVIOUR TO THE TOMB. AN original and moil capital pic- ture , in his bed colouring and manner; and of which there is no repetition, there being only one done prior to this, faid to be rather lefs than half the fize, in the Borghefe palace at Rome. This picture is preferved in its original fre(hnefs,fpirit,and force; and few of Raphael's pictures are fo free from the injuries of time* The dimenfions are, five feet eight inches ~ in height, by five feet eight inches in breadth. The background of the pidure 94 RAPHAEL'S is a landfcape; frefh, and highly finifhed; the lineal perfpedive is exadlly obferved, but the dimi- nifhed and diftant objects are feen more diftin&ly than in a modem landfcape; that part of perfpec- tive being then not fo well un- derftood. On the right fide of the pic^ ture there is a very high moun- tain; to the left of the mountain diftant hills, of a light blue tint: above is fky, partly blue, with white clouds; a diftant clearnefs, the effedt of the fetting fun. There is a river, on the banks of which there are planting and buildings ; and on the fide a feries of rocks, among which there is a cedar, exceeding tall and ftreight. On CARRYING To the TOMB. 9 5 the higher parts of fome of thefe rocks there are buildings , and trees among them. On the high- eft rock, to the left fide of the picture, (land the three crofles ; two male figures ftand by the middle crofs, to which one of them points* All the figures in this picture are complete to the extremities , which are alrnofL all feen. The figure neareft the fore- ground is the body of our Savi- our, which is feen at full length* See, beyond the power of words to exprefs, his face how pale, by the blood fhed, and the great- nefs of his fufierings ! The mouth is open ; all red has fled from his lips ; but the effe&s of 96 RAPHAEL'S expiring agonies , endured with patient meeknefs, and unlimited refignation, Hill remain. The body of our Saviour, with the wound in his lide, engages the eye, and touches the heart. 1 he upper part of the thighs is foftly bound with a fafh of filk, of a light pink colour; the reft, with the legs and feet, are uncovered ; they are fully feen, and painted with extraordinary roundnefs ; the traces of his blood, as it flreamed from his wounds, are feen, and call the attention of the fpeftator. The form of the body, and the expreflion of the whole, attraft the eye and mind by a kind of beauty and expreflion for which it is hardly poffible to find words- CARRYING to the TOMB. 97 The nobleft and mod graceful figure of the men who affiit at the funeral, is Jofeph of Arimathea; he carries the upper part of the body, and fupports the principal weight: the pofitionof his feet and turn of his body, (hew that Rapha- el has very artfully balanced this figure. He fupports the dead bo- dy of our Saviour with a linen cloth, which he holds on each fide, and is fo placed as to pre- vent the body from Aiding 5 011 the breait of Jofeph the head of our Saviour reds ; with his left thigh a little advanced, he fup- ports his body ; acrofs the arm of Jofeph reclines the right arm of our Saviour; and in fuch a manner, as to fliew that it is no G 98 RAPHAEL'S longer under direction i the arrri is painted with great relievo; in i the particulars of the parts difc tinftly exhibited. The wound made by the nail thro' the hand, engages the attention by its fre(h> \ nefs, and by the contrail it makes ! with the palenefs that furrounds. \ Jofeph's head is thrown back;- his eyes lifted up ; his counte- nance full of grief; and his grief appears mixed with a noble in- dignation, not paflionate, but pro* feeding from the meditations of i his mind. His head is covered with a turban ; the colour of his countenance is frefh ; the red and* white artfully blended, fo as to produce at once the natural and beautiful; his hair and beard are CARRYING to the TOMB. 99 ruddy. His robe is fhort, blue, and a little ornamented with gold ; a loofe drapery of white filk, lined with dark brown, hangs over his left fhoulder. The weight is chiefly fuppor- ted by his right leg; and the per- pendicular prefles towards the heel ; the left foot,which is thrown back, refts on its forepart; all the toes of the right foot are feen, being uncovered by the bufkins, which reach upwards to the middle of the leg; and the reft is feen naked to near the middle of the thighs. The next figure is St. John, dreffed in blue, with a red mantle han^in e aver his left fhoulier : in the ihade his hands are lifted G 2 tdo RAPHAEL'S tip and folded; his body bending forward, fo as to look on the face of our Saviour ; his hair is brown ; his face young ; his looking downward makes his eyes ap- pear almoft elofed. Great and tender is his grief ; and on his cheeks are feen the trickling down of many a tear. The St. John in tire Transfigu- ration is the fame figure dimi- nidied; and in the fame drapery ; but with a different attitude, and properly varied expreffion. The figure next in order, and which is in part before St. John, is Nicodemus. He is an old man; in whole countenance the re- mains of frefhnefs are more mel- lowed than in the countenance CARRYING to the TOMB, rot of Jofeph; the hair of his head and beard are grey; his hair is not long, but curled. His robe is dark; his mantle, which is of a light yellow fjlk, comes over his left fhoulder; a fafh erodes his breaft; his feet are naked; and the drapery which covers his legs is yellow; his head is uncovered, and reclines to the left ; his face is feen almoft in full view ; his front large; his looks fedate; his countenance full of thought and flayed wifdom: there are no tears in his eyes, but a grief of pro-? found meaning; his recolledlion and reflexion, rendered mature by years and experience , feem tQ make him uniufceptible of fur- prife or emotion. 102 RAP H AEL'S The figure that next engages our attention is Mary Magdalene. More of her face is feen than a profle; the form of her brow is oval, and of greater height than breadrh; her complexion is frefh and fair ; her hair falls back- wards , as it declines by her cheeks ; the mafles approach a gold colour, with a fmall mixture refembling the whitenefs of fil- ver; her hair comes round over the right fhoulder, croffes her breaft, and falls below her left arm; her open mouth feems to exprefs her grief by inarticulate founds ; her eyes are open and large ; encircled by a frefh red- nefs from weeping ; the drapery which covers the upper part of CARRYING to the TOMB, ioj her body is red, and that which covers the left flioulder is blue, tucked up in a knot on the up- per part; her neck and breail is of an elegant form, fuch as we fee in the mod beautiful ftatues of antiquity. The expreflion of paffionate grief in her counte- nance, and the fairnefs and foft- nefs of her complexion, are ftrik- ing contrails to the complexion and charadler of Nicodemus. The laft figure of this group is probably intended to reprefent an upper fervant of Jofeph of A- rimathea ; and after Jofeph, fup- ports the principal weight of our Saviour's body by a cloth coming round a little above the knees % G 4 io4 RAPHAEL'S which he grafps on both fides. r J he diftance f rom Mary Magda- lene, who walks behind, is dis- covered by a light that falls upon her drapery and foot. The pofition of this young man, and the inclination of his body mark an effort to walk firm ; his left arm, being next the fpec- tator, is feen below and above the elbow, the light piercing be- tween his hands ; his drapery is red, ornamented with gold ; the fleeves of his white fhirt are rol- led up; his mantle is dark, fliort, and narrow; his bufkins and fandals are red, the upper part adorned with gold ; his right leg is in the light, and his left ip. CARRYING to the TOMB. 105 fhade. The concern that appears in his countenance feems to be fympathy with the perfons he fees in grief; his eyes are fixed upon them. All thefe faces fhew how re- mote Raphael was from what is called manner in painting. He ne- ver departs from the fimplicity of nature in fearch of the grace which diftinguifhes his works. He knew that nothing is more contrary to grace than affectation ; that all the graces are attracted by fimplicity and propriety ; and multiplied by felefting the beau- ties and variety of nature, and blending them with the beauties pf the befl antiques. The different fexes, and the io6 RAPHAEL'S various ages, have all beauties I peculiar to each; even the grey hairs, and wrinkles of old age, may be compared to the mellow- nefs of fruit ready to drop; efpc- cialiy when the foul has employ- ed pad years in the purfuits of wifdom and virtue. The principal of the other group, which confifts of four fi- gures, is the blefled Virgin, who faints: her countenance is pale; her eyes fliut, her mouth a little open; by the remaining red in the inner part of the lips, it ap- pears that life is not entirely de- parted. Her body is fupported by two maids ; the one behind, clafps her arms around the Virgin's waifl ; the one before applies a CARRYING to the TOMB. 107 hand to each fide, which fupport her breaii below the arms. The attention of the maid be- hind is divided; her head being turned towards the body of our Saviour, her grief proceeds from what flie fees. The other maid who fupports is wholly occupied with the Vir- gin; her back is turned toward the fpedtator, and foreground of the pidture ; and her face toward the object of her care. Her face and body are fo well detached, that the diftance betwixt the Vir- gin and her feems to be real. A fmall part of the Virgin's foot and four toes are feen ; and of fo pale a colour, that the faint- ing appears thereby to reach to to8 RAPHAEL'S the extremities. Her left arm ! hangs over the fhoulder of the j maid on the foreground. The maid, who fupports the Virgin's head, has the expreffion of the moil profound grief ; the tears feem to flow faft down her cheeks. She is probably intended by Raphael to reprefent a rela- tion. This group being meant to be feen only in the fecond place, the colours of the draperies are all lefs vivid, and incline to the brown. This picture has produced the moil powerful effects, in bring- ing tears from the eyes of fpec- tators, who neither loved nor ad- mired painting. CARRYING To the TOMB. 109 It is defcnbed by Vafari in hi9 life of Raphael, and by Raphael Borghini; and was engraved by Scalenberg at Paris, Some of Raphael's fketches were etched. r I here is an original drawing here of the whole by Raphael, never engraved; by which it appears that he has moderated the ex* predion of Nicodemus, and the fervant of Jofeph in the pidhire; that the whole might have great- er variety, propriety, and fuboiv dination. Th e preceding defcription may help the memory of thofe who have feen the picture, but muft fall far fhort of enabling thofe who have not feen it to compre- hend its merit and power; ho* iio RAPHAEL'S caufe Raphael has exprefTed to the eye by his pencil fuch diver- fified beauties of forms, fuch pow- erful and various expreffion, that perhaps even his own pen could not have clothed with words. How much he furpafTes other painters, who have attempted to reprefent the dead body of our Saviour, and the grief of thofe who attended him, may appear by the pictures in this very coL- leftion. There are three pictures by the different Baflans j but how difmal and gloomy! how defici- ent in noblenefs, in every refpec% when compared to this ! Even the famous picl ur£ of Annibal Caracci, which ex pre fie s the pafiion of grief with lb much CARRYING to the TOMB. 1 1 1 vigour, is far inferior to this pic- ture, in the dignity of the cha- racters, and in the beauty of the forms. Subjects of this nature can on- ly be reprefented worthily by a painter of the mod fubiime and amiable conceptions 5 otherwife they do not elevate our minds to worthy fentiments, but rather re- volt imagination. Certainly the more interefting the fubjedl, the higher the picture deferves to be efteemed when the painter, hav- ing exerted the power of genius, has infufed all that merit into his work that can ftrike the ima- gination of an intelligent fpecta- tor with admiration and fyxnja- thetic feeling. ii2 RAPHAEL'S The painter addrefTes the un- derftanding in c ommon with the j philofopher; he imitates the paf- fions, and even the calmeil af- fedtions, like the mufician and poet. But as the power of a piece of mufic or poetry is not found in defcription 3 neither is it pof- fible to reach the fublime and pa- thetic of this pidlure by mere words: and how difficult the fub- jedl itfelf is to treat worthily, the many unfuccefsful declamations fhew, which tend to degrade. To reliili any divine fubjedl a man mull bring a mind du- ly prepared • he muft have a competent knowledge of thofe principles which let it in the trueft and nobleit light. On this CARRYING to the TOMB. 113 depends the worthinefs of his conceptions, the fuitablenefs of his affections, and its whole power in awakening becoming medita- tions. See how Raphael has repre- fented the face of our Saviour ! In how pathetic a manner has he marked on the under-lip the lail pang of his fufFerings ! See the whole face how pale ! how ex- haufted of blood ! how meek the expreffion ! how unafliimed the fortitude! What fufFerings are marked to have preceded death ! as if Raphael, fpeaking by his pencil, fays, " Spectator! look on " this face, and behold the efFeCts " of all the fufFerings that prece* " ded his death! Behold him who H U4 RAPHAEL'S " endured the torments of the " crofs , even for thofe who cm- " cifiedhim! For men underwent u he not all thefe fufferings ? was " he not wounded for your tranf- " greffions?" But who can think of thefe things worthily? This was the theme of the antient prophets j this was the hope of the antient patriarchs; this is the fubjedt the angels defire to look into. Can fhort-fighted mortals, who are but of yefterday, fee all the beau- ties of fo extenfive a fubjed ? Can they unravel the fecrets of the Moft High? Can they trace that evil to its origin, which has in vaded the univerfe ? Can they de- clare its effects? And when the CARRYING to the TOMB, i i$ period fhall arrive, when the Sa- viour of the world will abolifh death j reftore the kingdom to the Father ; and God become all in all I How fublime are the dodrines of religion, when the veil which hides their beauties from our eyes is removed? How can we fee the extent of a redemption which comprehends nations, kin- dreds, and languages, to all fuc- ceeding ages > makes the fubject of the praifes of celeftial fpirits ; and was not unfung by angels, when the Word came and dwelt among mortals ; and the fong Was not unworthy of the occafion, h Glory to God in the higheft, " peace on earth, and goodwill " to men, H 2 u6 RAPHAEL'S Would we conceive worthily of the fubjed, let us read and meditate on the writings of the beloved difciple, who weeps with fo much affedtion and tendernefs in this picture. See by the colour- i g of thefe cheeks, how many tears have fallen I every pore feems to weep; and the counte- nance to become more beautiful by the tendernefs of a grief all fentimental and divine ! Here the defcriber is not able to follow the painter. Language itfelf is vague and barren ; and thofe fubjedts intended by nature for the eye, pafs through the ear but faintly to the mind. Supply this defedl by remembrance ; yoit have feen the pi&ure, You haye CARRYING to the TOMB. 117 fcen others where the paffions are exprefled with more vio- lence ; but the grief is fuitable to every chara&er. * The forms, the attitudes, the expreffions, the diverfified and noble airs of each, would engage us to fympathize with all their griefs were we ignorant of the caufe. But how interefting the caufe to mankind ! A little elo- quence might adorn a fuperficial fubjed, but here can the wings of imagination by foaring reach the height? Muft not the depth overwhelm; and the weight of the mortal body prefs down the foul ? # This difcourfe was read to a literary fo* ciety here, who are well acquainted with thp collection. ill RAPHAEL'S Can man read the records of eternity? Can he unfold infinite wifdom in the plan of the Lamb flain from the foundation of the world? Can he trace the facred connection between things divine and human, and point out the line of feparation ? Unhappy mortals ! whole minds grope in in the darknefs of earth ; and, looking always downward, per- ceive not the #anne£ting links which would raife them above the darknefs of their prefent ha- bitation ! The view of fuffering, where the mind goes no farther, is me- lancholy, and even painful to human nature ; but the triumph of the virtues in fuffering, even CARRYING to the TOMB. 119 among human heroes, is an ob- ject of admiration and love. Mankind come into the world without their own choice ; nor is it in their power to delay when they are called ; but the Saviour of the world alliimed a mortal body from choice : the greatnefs of his dignity makes the great- nefs of the contraft. Would we inform ourfelves of that dignity, can we confult any with greater propriety than that St. John who was honoured wirh his friendship ; a friendihip re- membered amid the torments of the crofs, when he faid to his mother, " Behold thy fon and to St. John, u Behold thy mother. 5 * From that time this difciple took her home to his own houfe* 120 RAPHAEL'S The philofopher Neumeneus, having feen St. John's gofpel, cal- led out with furprife, that the fo- reigner agreed with his mafter Plato in adopting the Logos for one of his principles. By St. John's carrying the dis- covery of our Saviour's dignity thus far, the prepared mind is ad- mitted to contemplations that at once humble and exalt. They humble, becaufe our prefent cir- cumftances admit our feeing the objedts of an invifible world only in a dark and fhadowy manner. They exalt us by the hopes of the light of immortality, when we lhall no more need to guefs and conjedture from imperfedl analo- gy, but compare the everlafting CARRYING to the TOMB. 1 2 1 forms and relations to the Arche- type. Now, we know that the Logos, according to the molt venerable fragments of antiquity, is the Archetype of the univerfe; and this is the dodlrine of St. John in the beginning of his gofpel. To this dodlrine St. Paul has confor- med, when he calls him " the " brightnefs of his father's glory, " and the exprefs image of his " fubftance ; by whom alfo he " made the worlds/' The antient Heleniftic Jews, fuch as Philo*, maintained the * The curious may have recourfe to the Chevalier Ramfay's Difcourfe on the Theo- logy and Mythology of the Antients, at the end of his Travels of Cyrus ; and to the fc- 122 RAPHAEL'S pre-exiiience of the foul of the Meffiah ; and that this foul of the Meffiah was, from the beginning of time, united to the Logos, This foul of the Meffiah they af*j fcrted to be the firft and highell production of the Divine Power. In allulion to this pre-exifting and exalted ftate of the Meffiah, 8t. John calls him, the Beginning of the creation of God: and St, Paul, the Firft- born of every crea- cond volume of his Philofophical Principles of natural and revealed Religion. No author ever had it more at heart to vindicate the ways of God, and to place revealed religion in an amiable light ; which his learning, his genius, and noble fentiments highly qualified him to do ; but his bad health and premature death did not leave him time to give all the accuracy and beauty to his large work which he intended. CARRYING to the TOMB. 123 ture. But neither of them reftrain the dignity of our Saviour to his being the higheft and firft pro- duction of the Divine Power. At the fame time he is called by St. Paul, " The Image of the " invifible God ; for by him were P all things created/' (that is, ac- cording to the Logos as the exem- plar) " that are in heaven, and " that are in earth, vifible and in- u vifible, whether they be thrones, " or dominions, or principalities, " or powers ; all things were cre- * ated by him and for him; he is " before all things, and by him " all things fubfift." Our Saviour in the fixth chap- ter of St, John fays, " I came w down from heaven , not to do 124 RAPHAEL V S " mine own will, but the will of " him that fent me/' And in the feventeenth of St. John, " Now, " O Father, glorify thou me wuh " thine own felf ; with the glory " which I had with thee before " the world was." If a high pitch of moral good- nefs, if the fublimeft piety, if un- feigned fimplicity and veracity , and the befl accefs to know, can give authority to a teftimony, all Jiefe unite in the prefent tefti- mony of St. John. If fo, can it be rejected by the unprejudiced mind? Is not there an union be- tween truth and goodnefs over the univerfe, in all times, and in all places ? How great then muft the dignity of Saviour be? How CARRYING to the TOMB. 1 25 worthy of all acceptation are the good tidings of great joy to all people; which brought down a multitude of the heavenly hoft to praife God. Agreeable to St. John and St. Paul, feem thefe words in the wifdom of Solomon; fpeaking of eternal wifdom the author calls it, " The brightnefs of the ever-^ " lafting light, the unfpotted mir* u ror of the power of God, and " the image of his goodnefs : " which plainly imply a repre* fentation of his power, wifdom $ and goodnefs , which attributes, conceived in all refpefts infinite 0 include the higheft conception we can form of the Deity. Chevalier Ramfay has endea* 126 RAPHAEL'S Voured to fhew, that though the Mefliah was more peculiarly and certainly the expectation of the Jews, their prophets abounding with ilriking pafifages relative to two advents of the Meffiah, one in fuffering, and the other in glory; yet that he was, flrictly fpeaking, the desire of all na- tions; and was to come to re- ftore the univerfe to its primitive fplendor. This doctrine he finds in the religions of all the nations of which we have monuments, more or lefs involved with the fables time adds to difguife truth j and interwoven by Plato into his the- ology; for he diftinguiflies be* tween the fupreme Creator and CARRYING to the TOMB. 127 Governor of the univerfe, and Ju- piter the conductor, who conduces all the orders of celeftial fpirits to contemplate alternately the De- ity in his works ; and by a direct view to behold truth and jufticCj not as they exift here below, but as they exift in him who is being Itfelf ; until, overpowered by the glory of the obj 61, they return again to contemplate him in his works. To the fame purpofe, the pro- phet Ifaiah reprefents the heaven* ly fpirits led as a fhepherd does his flock, by living fountains of water. The following pafiage, what- ever unknown rnyfteries it may contain, evidently relates to our 128 RAPHAEL'S Saviour, and I prefume not to offer any interpretation. ReveL xix. i i. "And I faw heaven open* j « and behold a white horfe; and " he that fat upon him was cal- j " led faithful and true, and in " righteoufnefs he doth judge and ** make war; his eyes were as a " flame of fire, and on his head " were many crowns j and he had " a name written that no man " knew but he himfelf ; and he i6 was clothed with a vefture dipt M in blood ; and his name is cal- " led, the Word of God. And the # armies which were in heaven " followed him upon white hor- " fes; clothed in linen white and " clean. And out of his mouth " goeth a {harp fword, that with CARRYING to the TOMB. 129 " it he fhould fmite the nations ; " and he (hall rule them with a " rod of iron; and he treadeih f the wine-prefs of the fiercenefs " of the wrath of Almighty God. " And hath on his vefture and f on his thigh a name written, " King of kings, and Lord of " LORDS." This King of kings, and Lord of lords, covered with the veil of mortality, with the veil of pover- ty, fufferings, and (implicit) 7 , was defpifed by the admirers of pomp, by the admirers of riches, by the admirers of the wifdom of this world ; was to the unbelieving Jews a ftumbling-block ; and to the unbelieving Greeks foolilh- nefs: but to fuch as renounced I %$a RAPHAEL'S their prejudices, and fought for 1 truth in fimplicity of heart, the wifdom and power of God was difcovered, in accomplifhing the j greateit defign by means altoge- ther unexpected by the admirers of the glitter of this world ; but I thefe means nearly viewed are fu- ! blime in their fimplicity : and the j more they are meditated upon, the I more does evidence fhine forth. If we go back to the days of Abram, we find that in his feed I all the kindreds of tli€ earth ; fhould be blefied. If we read with attention the prophet Ifaiah, we will find the great lines of our Saviour's hiflory, his fufferings 7 his miracles, the happy effects Ids religion was to have on max> CARRYING to the TOMB. 131 kind , and its gradual extenfion ! through all ages and nations. Nor are thefe prophecies con- fined to Ifaiah alone, almoft all the prophets, and many of the pfalms contain paffages relative to our Saviour, which mull ftrike the attentive and candid mind by the united evidence * and throw the mod dignifying light on the fubjedt of the Carrying to the Tomb, What pufillanimity then to be afhamed of the crofs, fince crimes alone make fuffering ignomini- ous ? Since goodnefs never ap- pears more glorious than in the midfl of exquifite fufferings,when proper to accomplifh the mod ex- tenfive plan for reftoring the or- I 2 131 RAPHAEL'S der and happinefs of the uni- verfe ? Can we trace him bapk from this profound abatement, to the glory he poiTefied before the world was, without inexpreilible aftonifhment? What then would be our thoughts, could we con- template the univerfe as it came from the hands of God ; behold the contrail that a breach of the immutable laws has introduced; and knew the detail of all the means -employed to reftore lapfed intelligences? Could we follow the feraphim and cherubim in their extended views of the re- demption of the world? Could we tell how they were ftruck with our Saviour's leaving the celeftial CARRYING to the TOMB. 133 regions ; and the eclipfe caufcd by departed glory ? Could we tell how myriads of pure fpirits were aftoniihed with the treatment he received from men? Could we fee the fcenes exhibiting the evils of tranfgreffion to all the regions of immenfity, in order to prevent oihers from falling, by difcover- ing the connection between truth, jufcice, purity, and mercy? Could we look into futurity, and follow the chain of providence through all its links and windings ; in railing all that are bowed down, and lifting up all that are fallen? Could we fee from far the ran- fomed of the Lord return after all their tribulations? This was in part feen in th^ 1 3 i 3 4 RAPHAEL'S vifion of St. John , when one of the elders faid unto him, " Thefe " are they who came out of great " tribulation, and have wafhed " their garments, and made them " white in the blood of the Lamb jj " therefore are they before the " throne of God, and ferve him " day and night in his temple. " And he that fitteth on the u throne (hall dwell among them. u They fliall hunger no more, f* neither thirft any more ; nei- u ther fliall the fun light on them, " nor any heat : for the Lamb, <; who is in the midfl of the " throne, fhall feed them; and " fliall lead them to living foun- w tains of waters. And God fliall " wipe away all tears from their " eyes." CARRYING to the TOMB. 135 Alihough many things of our prefent fubjccl can be compre- hended but in a very imperfedt manner; yet are they not the Jefs worthy qf our attention, becaufe they tend to humble and ex^- pand the foul ; to raife it above the tranfitory things of this world, which is made up of changes, where the objects of the greateft admiration fuddenly vanifli. See how difeafes , how the fharpeft pains, how death feizes every rank of life! How many are laid afleep in the lap of profperity, more unhappy by their lethargy, than thofe who go through fuc-^ ceffive trains of fufferings ? The fource of human happi? nefs is from within, and thq 1 4 136 RAPHAEL'S grand objects of confolation are invifible. A life intelledtual and divine unites to God, and to all that is great and good in the univerfe. By fubjedts of this nature one is infenfibly drawn along ; how- ever, as this is conneded with the whole of time, to the reftoration of all things, I lhall conclude with a pafTage from Ifaiah, one from St. Paul, and one from St. John. IfaL xxv, 7 . " And he will de- " ftroy on this mountain the face ^ of the covering caft over all " people, and the veil which is " fpread over all nations. He " will fwallow up death in vie- it tory. And the Lord God will CARRYING to the TOMB. 137 " wipe away tears from off all " faces." 1 Cor. xv. " But now is Chrift f rifen from the dead, and become " the firft fruits of them that tffleep. — In Chrift ftiall all be f 6 made alive ; but every man in " his own order ; Chrift the firft " fruits, afterwards they that are " Chrift's, at his coming. Then " cometh the end, when he fliall " have delivered up the kingdom " to God, even the Father; when " he fliall have put down all " rule , and all authority and " power. The laft enemy that " fliall be deftroyed is death." And what is this enemy Death, thus perfonified ? Is it the fepara- tion of the foul from a mortal bo- 138 RAPHAEL'S dy ? The fenfe requires fomething more. Is it not the deflruction \ of the firft caufe of death, befides putting an end to the ftate of mortality? Is it not the finifhing tranfgreflion, and bringing in everlafting righteoufnefs ? This finiflies the work of redemption j reftores that immortal and divine life connected from the begin- ning with immortality ; which unites all fpirits to God, and to one another. Such are the benefits difFufed through the univerfe by that Light which fhone in darknefs, and the darknefs comprehended it not; but which appeared to St John a glorious Light, as the only begotten of the Father, full j CARRYING to the TOMB. 139 of grace and truth; and the Light I that enlighteneth every man who I cometh into the world . Who, as ! was foretold by the prophet Ifaiah, i made the blind to fee, the deaf to hear, the lame to walk. Who even raifed from death ; who by his own refurre&ion, no lefs than his dodtrine brought immortality to light, by evidence levelled to the capacities of all mankind. How fublime in its fimplicity is the hiftory and dodtrine of Jefus Chrift, " the faithful witnefs, the " firft begotten of the dead, and " the prince of the kings of the II earth? Unto him that loved us, " and wafhed us from our fins " in his own blood ; and has " made us kings and priefts un- 140 RAPHAEL'S ^ to God and his Father; to him " be glory and dominion forever! " and ever. Behold he cometh a with clouds, and every eye (hall " fee him, and they who pierced " him, and all the kindreds of f the earth (hall wail becaufe of >« him: 9 As a clear fountain carries down its ftreams all pollution that is thrown into it, fo will time carry down the flream all the fu perdition and all the errors with which men have polluted the pure fountain of the Chriflian religion ; which, by the fimpleft means, tends to reftore the origi- nal and immutable religion of all pure intelligences ; and what elfe could be expelled from a re- ligion that comes from God? I CARRYING to the TOMB. 141 In defcribing the pidhire, the Itime chofen by the painter was jnot attended to; which appears, from the circumflances, to be im- jmediately after lifting the body. This renders the attitude of Jofeph more proper, as was ohferved by a good judge, and fhews a molt refpedtful delicacy of manner. Raphael made a defign of the taking down of our Saviour from the crofs ; which was engraved though perhaps nor painted; and is defcribed from the print by Monfieur de Chambray in his Treatifeof a perfect paiiver. This defign accounts tor their diflance from the crofs. There is alfo a fubjedl, com- monly called a Pietas, prior to the 142 RAPHAEL'S Carrying to the Tomb, in which the body of our Saviour is repre* fen red by the painters as leaning on the knees of the Virgin, which is perhaps fuppofcd to be the fil tuation immediately preceding. Vafari's character of the pic- ture. " e in quefta diviniffima " pittura un Chrifto morto porta- u to a fotterrare, condotto con tan- i% ta frefchezza, e si fatto amore, 0 che a vederlo pare fatto pur'ho- " ra. Imaginoffi Rafaelle nel com- H ponimento di quefta opera il do- '* lore, che hanno i piu ftretti, et " amorevoli parenti nel riporre " il corpo d'alcuna piu cara perfo- " na, nella quale veramente con- " fifta il bene, l'honore, e l'utile di CARRYING to the TOMB. 143 r tutta una famiglia; vi fi vede " la noftra Donna venuta meno, " e le telle di time le figure molto " gratiofe nel pianto, e quella par- " ticolarmente di San Giovanni, " il quale incrocicchiate le mani, " china la tefta con una maniera *' da far commovere quale piu duro animo a pieta. E di vero, " chi confidera la diligenza, l'a- " more, Tarte, e la gratia di quell' " opera ha gran ragione di mara- " vigliarfi, perch e ella fa Oupire f chiunque la mira, per Taria del* * le figure, per la bellezza de'pan- " ni, et in fomma per un'eflrema u bonta, eh'ell'ha in tutte le partL THE PICTURE OF THE GRECIAN SCHOOLS 0 F PHILOSOPHY; CALLED THE SCHOOL of ATHENS; painted in the Vatican by Raphael: and, by permiffion of the late Pope, painted after the original in the Vatican by Archibald Mac- Lauchlane ; fent from the Acade- my at Glafgow partly for that purpofe. The dimenfions of the copy are, fifeteen feet in breadth, by ten in height. K i 4 6 RAPHAEL'S THIS pi&ure, if we may judge by Vafari's account of it in the life of Raphael, was not under- flood. Vafari himfelf calls it the Agreement of Theology with Phi- lofophy, and of Aftronomy with Theology : and, having miftaken the fubje£t in general, the detail he has given of the parts is no lefs erroneous.* # Laonde Rafaelle nella fua arrivata, ha- vendo ricevute molte carezze da Papa Giu- lio, comincio nella camera della fegnaturauna ftoria, quando i Teologi accordano la Filofo- fia, e PAftrologia, con la Teologia, dove fo- lio ritratti tutti i Savii del mondo, che difp^r- tano in varii modi. Sonovi in difparte alcu- tii Aftrologi^che hanno fat to figure fopra cer- te tavolette, e caratteri in varii modi di Geo- nietria, e d'Aftrologia; et a gli Evangelifti lc mandano per certi Angeli belliffimi, i quali Evangelifti lc diacharano. Fra coftoro" e w SCHOOL of ATHENS. 147 It is a lofs to the world that Raphael did not leave us a com- mentary on his own great com- Diogene con la fua tazza a giacere in fu le fca* lee, figura molto confiderata, et aftratta, chc per la fua bellezza, e per lo fuo habito cosi accefo, c degna d'eflere lodata. SImilmente vi e Ariftotile, e Platone, l'uno col Timeo in mano, e Paltro con l'Etica, dove intorno gli fannd cerchio una grande fcuola di Filoiofi* Ne fi puo efprimere la bellezza di quegii A- ftrologi, e Geometri, che difegnano con le felle in fu le tavole moltiffime figure, e carat- teri. Fra i medefimi nella figura d'un giovane di formofa bellezza, il quale apre le bracciat per maraviglia, e china la tefta, e il ritratto di Federigo II. Duca di Mantoua, che fi trova- va allhora in Roma. Vi e fimilmente una fi- gura, die chinata a terra con un paio di fefte in mano, le gira fopra le tavole, la quale dico- no eflere Bramante architettore, ch'egli non c men defib, che fe fofie vivo, tanto e ben ri* tratto. E allato a una figura, che volta il di di- etro, et ha una palla del Cielo in mano, e il ritratto di Zoroaftro, et a lato a effb e Rafa- clle, maeftro.di quefiVopera, ritrattofi da fc K 2 i 4 8 RAPHAEL'S pofitions, as it would have pre- vented many groundlefs conjee- medefimo nello fpecchio. Quefto e una tefta giovane, e d'afpetto molto modefto, accom- pagnato da una piacevole, e buona gratia, con la beretta nera in capo. Ne fi puo efprimerc la bellezza, e la bonta, che fi vede nelle tefte, e figure de'Vangelifti, a'quali ha fatto nel vifo una certa attentione, et accuratezzarnolto na- turale, e maffimamente a quelli, che fcrivono. E cosi fece dietro ad un San Matteo, mentre' eh'egli cava di quelle tavole, dove fono le figu- re, i caratteri tenuteli da un'Angelo, e che le- diftende in s'un libro, un vecchio, che meffbli una carta in ful ginocchio, copia tanto, quan- to San Matteo diftende. E mentre, che fta at- tento in quel difagio, pare, eh'egli torca le mafcelle, e la tefta, iecondo eh'egli allarga, et allunga la penna. Et oltra le minutie delle Gonfiderationi, ch^ fon pure affai, vi e il com- ponimentodi tutta la ftoria, che certo c fpar- tito tanta con ordine, e mifura, eh'egli rnoftro veramente un si fatto faggio di fe, che fece conofcere, eh'egli voleva fra coloro, che toc- cavano i penelli, tenure il campo fenza com* trafto. SCHOOL of ATHENS. 149 tures, which rather perplex the fpe&ator than give him any af~ fiRance. 1 he name of the School of A- thens, altho' it does not give with precifion a correal or compleat idea of the intention of the pain- ter, yet it directs the attention of the fpedtator to that road which leads to the full understanding of the pidture. Painting, like poetry, is not confined to ftridl hiftorical truth. If a probable appearance is hap- pily invented in fubordination to the end of the painter, it is fuffi- cient. A reprefentation in paint- ing not being an abftrad idea, but fome adlion, either real or feigned, exhibited to the fpe&a- K 3 ISO RAPHAEL'S tor,fuppofes fome particular place the field of action. This, when the painters intention was to give a reprelentation of the four- ces of antient wifdom or philo- fophy, would turn his attention to antient Greece, where philo- fophy was cultivated more than in any other nation ; and the writings of whofe great philofo- phers ftill remaining, are, in phi- lofophy, the greateft lights of, mankind. Of all the cities of Greece, A- thens has undoubtedly . the beft claim to the honour of the fcene; as it gave birth to Socrates and Plato, and continued for a feries of ages to poffefs the moft illuftrious fchools of philofophy. SCHOOL of ATHENS. 151 Raphael's intention was not to reprefent a (ingle fchool, but a fucceffion of fchools in the order of time; fo that the picture might be viewed in detail as they really fucceeded to one another, as we read a hiftory: and as we can read a hiftory long after the events ceafe to exift, fo we can view a hiftorical pidlure, contain- ing a reprefentation of the fchools of philofophy in fucceffive ages, without fuppoftng that they ex-* ifted any other ways than in fuc- ceffion, and without fuppofing their places of dwelling any other than what they really were, al- tho' the painter, to exhibit them to the fpe&ator, muft make the hypothecs of their being afTeiiv? K 4 152 RAPHAEL'S bled in one great ftrudhire. This he does becaufe it is unavoid- able, but delires not the fpec- tator to forget that Pythagoras taught in Magna Graecia, and the others at Athens. To reprefent the antiquity of Pythagoras, he has placed him firft to the right of the picture, and not on the fame line with the Athenian teachers, but on the foreground. It would appear from Plato's motto on the entry of his fchool, that there were fchools for geo- metry in his time, otherwife his forbidding any to enter without geometry would have been a pro- hibition; we are therefore to con- fider the mathematical fchool as contemporary and preparative to SCHOOL of ATHENS. 153 the fchools of Plato and Ariftotle, who both connected their philo- fophy with the mathematics. We accordingly find in their fchools not only young men, but men advanced in life ; and in the mathematical fchool only young men. One of them, having com- pleted his itudies in geometry, is enquiring for the fchool of Ari- ftotle, which one points out to him. This plainly fhews, that the painter's intention was to re- prefent the mathematical fchool not as a fucceflive one, but as contemporary: and confequently the teacher is not Archimedes, who never lived at Athens, but at Syracufe, long after the lateft period in this pi&ure ; and was 154 RAPHAEL'S always employed in great invent I tions, not in teaching elements. I The being able to name the It teacher is no way neceflary to un- s derfland the pidhire. Perhaps Ra- phael had no particular perfon in view: but if we fuppofe Euclid, ! who was a Socratic philofopher j of the fame antiquity with Plato and Ariftotle, his character gives great propriety to the reprefent- \ ing him as a teacher; fmce to his genius and induftry we owe the bed elements of mathematics in the world. Thefe obfervations are made fo early, that the reader may be attentive to the rationale of the pi£ture, and its ieif conliftency^ and not j udge the painter by rules SCHOOL of ATHENS. 155 that he did not nor could not lay down to himfelf ; though very proper for pictures that reprefent a fmgle event, in which every cir- cumftance happened at the fame time, and in the fame place. This picture is therefore to be confidered as a reprefentation of the molt illuftrious fchools of an- tient philofopy, diftinguifhed by their rendering the ftudy of na- ture fubfervient to piety ; and with this the union of the public and private virtues ; connecting politics with morals, they taught that nothing was ufeful but what was honourable, that the honou- rable was infeparable from juf- tice, and juftice the fupport of all order and felicity. ■i 56 RAPHAEL'S On this plan the Epicurean and all the atheiftic and licenti- ous feds of philofophy, are ne^- ceflarily excluded. When a painter reprefents on ly a fingle adtion, or any hiflory that happened at the fame time and place, he is to blame if he do not obferve the rules of time and place; but, when he under takes to bring together into one picture a record of tranfadlions of feveral ages and places, he can do nothing better than what Ra*- phael has done in this picture, to aflemble them all into one magnificent flrudture ; which , from its appearance, and from the companies he has placed there, may be called, The Temple of the Grecian Philosophy. SCHOOL or ATHENS. 157 He has placed them in the very beft order to the intelligent fpedtaror: for the fchool of Py- thagoras, which is the moll ami- ent of all the fchools reprefented, he has placed on the foreground neareft the eye, on the right fide of the picture, that is, on the left hand of the fpedtator. Immediately behind, is the fchool of Socrates ; the iirft who revived philofophy after Pytha- goras. Then follows, next in or- der, the fchool of Plato ; the mod eminent in philofophy of all the difciples of Socrates. T hen fol- lows, the fchool of Ariftotle ; the moil illuftrious of all the difci* pies of Plato. Thefe are the moll famous, and 158 RAPHAEL'S adding more would only have confounded the fpeftator by their multiplicity. By placing the mathematical fchool upon the foreground, he caufes it to balance the fchool of Pythagoras on the other fide; which fituation alio conveys more eafily to the mind of the fpeda^ tor the connexion of the mathe- matical fchool with all the others* The two figures beyond the mathematical fchool, who hold, the one a terreftrial, and the other a celeftial globe, point out the connection of the mathematics with cofmography, that is, with geography and aftronomy. They being likewife placed on the fore- ground, are thereby denoted to be only branches of philofophy. SCHOOL cf ATHENS. 159 : Some may think, that as A- thens was famous for fchools of the different fefts of philofophy for feveral ages, Raphael might have reprefented fchools of ali the denominations he has intro- duced, in confiftency with the rules of time and place; but let fuch perfons confider, that his picture would not have had the fame dignity. His pidlure, as it ftands, is not a; fchool compofed of the follow- ers of the different opinions of others, but of original inveftiga-* tors, whofe inftrucSlions made great impreffions on thofe who heard them. No philofopher was ever heard with greater venera- ! tion than Pythagoras: above three 160 RAPHAEL'S hundred of his difciples becatne famous authors ; of whofe works there remain only a few frag- ments ; to the great regret of all the lovers of antient wifdom. The names of Socrates, of Plato, and of Ariftotle, are fo well known* and fo highly revered in all civi- lized nations, that the bringing of thofe together, even in paint* ing, cannot fail to recal great ideas, and awaken the nobleft fen- timents in the enlightened and well difpofed mind. And fince it was impoffible to bring fuch per- fons together into one affemblyj without the liberty Raphael has taken, he certainly a6led a pruf dent part to facrifice rules, proper enough on other occafions, but here altogether impracticable. SCHOOL of ATHENS. 161 If we Ihould attempt to defcribe this pidhire, our chief guide mud be the pidture itfelf. We can on- ly follow the traditions concern- ing it, fo far as they are confident with his plan* They are only a collection of opinions, which are to be judged of by their intrinfic evidence. That Raphael has followed the antient fculptors, where he had them, appears by the bed known heads : that he introduced the portraits of his friends and bene- factors to reprefent antient cha* rafters, whofe liken efles are un- known to us, is a point his con- temporaries could not be mif- taken in ; and the names of ma- ny perfons, whofe portraits are L 162 RAPHAEL'S in his pictures, are {till prefcrved, Thefe arc confident with verifi- militude, lince they are not there in their own characters, but in the characflers which belong to the place where they are intn> duced. But we are not to fuppofe that the perfon with the rayed crown and cloth of gold is Zoroalter, merely becaufe that when Zon> afier is painted, he is accompa- nied with thefe fymbols. The picture being a reprefentation of Grecian philofophy and philofo- phers, a Perfian, efpecialiy one of fo remote an age, could not be introduced with propriety. Be- fides, the celeftial globe, which is held by the venerable perfon SCHOOL of ATHENS. 163 i {landing by him, would have been a more proper fymbol to charac- terife an inventor in aftronomy. It is rather more probable, that Raphael, by introducing a young prince, with a terreftrial globe in his hand, meant to infmuate that cofmography was a fcience pro- per for the fiudy and protection of princes ; fmce, by help of this fcience, empire is extended, and nations enriched. Could Raphael have introduced Zoroafter with propriety, he would have intro- duced him as a teacher, not as a fcholar. Let us turn to the right fide of the pidlure, where firft occurs the fchool of Pythagoras, on the fore- ground. He himfelf appears near- 1 64 RAPHAEL'S eft the eye ; with a red and white drapery; the crown and forepart of his head is bald ; the hair of his head and beard brown, without any mixture of grey. He is writ-* ing, and leans his book againft his left knee; his right knee is bowed, and refts upon the fame Iquare ftone with his left foot. The old man, who writes upon his knee, is thought to be inten- ded for Empedocles, a fcholar of Pythagoras, who devoted his life to philofophy. He feems to be looking on his mailer's book; by which a61ion we fee he is tranl fci ibing after his mafter. People, who judge by theiF own manners and cuftoms, will be furprifed to fee Raphael intro- SCHOOL of ATHENS. 165 dace fo old a man as a difciple; but when Pythagoras appeared, education was not under the ef- tablifliment of modern times: he was attended by multitudes of both, fexes; and of all the ftages of life. His fentiments were fo much beyond the ordinary rotine, that all who defired improvement of mind, were ambitious of hear- ing him ; and thought themfelves happy, according to the fenti^ ment of Plato, to attain a true way of thinking in matters of the higheft importance, even in old age. Thofe who are not to be- come profefled philofophers, but apply to philofophy, and the arts and fciences, fo far as to enable them to act with propriety and L 3 i66 RAPHAEL'S dignity in fociety, quit their ma- ilers fo foon as they have formed their minds, and acquired a com- petent fhare of knowledge. But thofe who devote themfelves to philofophy for life ; and are to ferve fociety by inftrudling o- thers, the more they ftudy, the more they find human life too fiiort to attain the knowledge of nature, to which we can fet no bounds. .Ariftotle attended Plato for twenty years ; and The- cphraftus, the favourite difciple of Ariftotle, continued long to flu- dy under his matter; and applied himfelf to the ftudy of philofo- phy for near a century; compo- fmg books in the extremity of old age. SCHOOL of ATHENS. 167 On the left of Empedocles, a man of middle age bends for- ward to read the book on which Pythagoras is writing; whofe at- tention is marked by the wrinkles on his forehead. Nearer the right of the picture, and clofe to Pythagoras, is a young man with a board, on which is fomething he has been writing in the fymbolical ftyle; which he waits to fhew his ma- iler. At the back of this young man {lands a graceful figure ; young, and of a frefh complexion; his pale hair, equally divided, falls down on each fide ; he is drefied in a white robe, bordered with gold ; and his left hand is upcq L 4 168 RAPHAEL'S his breaft. This is faid to be the portrait of Francefco Maria del Rovere, Duke of Urbin, then in the twentieth year of his age. The perfon before him, who has cue foot upon a fquare flone, who holds his book with his left hand, and points to fome remarkable paffage in it with his right, has a difputauous air; and by his years may be fuppofed to have palled that period which Pythagoras enjoined his difciples filence : he feems ready prepared to offer an objection to his ma- iler. Beyond th^s perfon, to the left, there fits or\ the foreground, a man in profound ftudy ; who fupporis his nead with his left SCHOOL of ATHENS. 169 hand, and has a pen in his right, This feems to be an inventive ge- nius, folely occupied with his own thoughts. Perhaps he repre- fents Zeno, the founder of the Stoic fedl; who adhered to the morals of Pythagoras and Socra- tes, though they differed in fpe- culative opinions : though near- er the fchool of Pythagoras than Diogenes, yet he is not part of the group. Diogenes is introduced into the pidhxre probably as a Cynic ; whofe fe6t fprung from the So- eratic philofophy, though they added Angularities that difho- noured the original. You may fuppofe both Zeno and Diogenes honoured with a place here, on 170 RAPHAEL'S account of their morals, but not their whole fedts, as they inter- mixed their own errors with the purer philofophy, and overlooked or rejected the fpirit of the Py* thagorean philofophy remarka- ble in the life of Socrates, and in the more extenfive theories of Plato; and in the main agreed to, though differently drefled, by Ariftotle. Let us turn to the extremity of the right fide of the pidture. Here we find a group behind the bale of a pillar; and by the peo- ple in motion on this, as well as on the left fide, we may con- clude, that teaching was carried on in a place open to the public. The outermoft figures by the SCHOOL of ATHENS. 171 [pedeftal, are an old man and a child, which he carries in his * arms. The o]d man is in profile, with a filver- white beard, and a blue mantle, which covers his head like the drefs of a prieft. The child's head is fo turned, that you fee the face aimoft full. He applies his right hand to the back of a book, which is lying ![ open near him. Bellori thinks that this child is brought in by the old man to try his inclination; but as the child is not above two years old, the thought is unworthy of Raphael: we muft therefore fuppofe, that the child has nothing to do with the peculiar fubjedt of the pic- ture, but to contrail infancy with ij2 RAPHAEL'S extreme old age heightens the pe- culiarities of each, and to intro- duce into the prefent group the various ftages of human life: for the figure which holds the book open before the pedeftal, and is touched by the child, is of middle age, accompanied by a young man on every fide > he on the left, being youngeft and mod beautiful. The middle-aged iigure is faid to be the portrait of Julius II, who was Raphael's patron, and delighted more in war than in learning. Here we may fuppofe he represents an antient hero victorious, yet ft ill after victories attached to philo- sophy. Behind this group, and more SCHOOL of ATHENS. 173 advanced in the pidture, there are three figures in motion. One car- ries a book and fcroll under his arm; his body is turned in fuch a manner as marks a fpring of activity and motion. The man before him feems to have enqui- red, where he was in the fchool to whom thefe things fhould be I delivered : the perfon at whom be has alked pointing with his arm lifted up to the right fide of ; the pidture, is thereby informing him, that he had left the fchool, and that he had gone out that way. Thefe figures, and others in motion on the left fide of the pic- ture, contrail with the general repofe which is produced by the 1 i 7 4 RAPHAEL'S fubje6t ; and, being on the ex- tremities, they do not interrupt the filence fo neceflary to the fpeakers and hearers. Behind the fchool of Pythago- ras, by mounting up four fteps from the foreground, we afcend to the fchool of Socrates ; next in the order of place, as it was next in the order of time. To the right of the picture, the firfl figure that ftrikes the eye is a young man, remarkably handfome , in a rich military drefs ; he has a helmet on his head, which is feen in profile; that part of the drefs which co- vers his body is of a fair green; and the fiiort fleeve that covers the upper part of his arm, gold: SCHOOL of ATHENS. 175 ; he refts his left hand on the ex- tremity of the handle of his ifword; his right arm is curved, and he refts the back of his hand below his waift ; the loofe robe .that hangs over his left fhoulder, and comes round over his right thigh, is of a faint purple: he , refts chiefly on his right foot, and his left is thrown behind him, the toes of which only touch the ground. This is the celebrated Alcibiades. Behind him is the man wha points ; and by him a figure with a cap, more advanced in years/ probably Antifthenes the tanner, whofe fhop Socrates ufed to fre- quent; and whofe converfat ions Antifthenes recorded, and became i 7 6 RAPHAEL'S at laft a famous Socratic philofo pher ; whofe fingular opinions gave rife to the Cynics. Between Anrifthenes and So* crates we have Xenophon, repre- fented as a young man of an a- miable and fair countenance, with a green robe and blue mantle fringed with gold; his face is turned toward Socrates ; his left hand, coming ac'rofs his breafl, reds upon his loofe drapery; and his right lifted up, the fingers curved, touch his head below the right ear. Immediately behind Socrates are two figures j the one turned more than three quarters, part of whofe face is concealed by the fhoulder of Socrates, The other SCHOOL of ATHENS. 177 is fully feen, and in front ; his j hair is fliort and thin ; his fore- head large and round ; and his beard long and full for a perfon i of his age : his manner befpeaks \ a {till and tranquil attention, like \ one occupied only with what he is hearing, yet underftanding what he hears with facility : his . robe is purple, fringed with gold. This figure refembles Plato, tho* i many years younger than he is afterwards reprefented in this pic- ture. This, at firfl fight, may appear an abfurdity, that the fame perfon fiiould appear twice in the fame picture; and it would be abfurd if both appearances were at the fame time ; but his firfl appear- M s 7 8 RAPHAEL'S ance is young, and a fcholar in the fchool of Socrates ; in his fo* cond he is pail middle age, and teaches a fchool of his own. Let what has been already faid be confidered, that the fubjedi: is incapable of unity of time, and that the fpe&ator is to view fchool after fchool, in the order Raphael has placed them; which is the order of time in which they fuc- ceeded to one another: thus, the different parts of the pidture are viewed in a chronological order, as we read in regular fucce/Iiori the pages of a hiftory. Socrates is on the fame line with Alcibiades ; is feen in profile, as he is reprefented in the greater part of the antiques, with a re- SCHOOL of ATHENS. 179 femblance of Silenus ; his fore- head is large, and bald; his hair fhort ; his mouth open, like one difcourfing ; he is looking to- wards Alcibiades, and directing his difcourfe to him; his drapery is a light green ; the palm of his left hand is turned upwards, and he takes hold of the forefinger of his left hand with the forefinger and thumb of his right : an at- titude not at all declamatory, but fuitable to, or expreflive of, his manner of analyfing fub- 1 jecfts , and bringing the perfon himfelf, ftep by ftep, without knowing where he was going, to acknowledge the truth So- crates wanted to convince him of. We hqve examples of this ia M 2 i8o RAPHAEL'S a more concife manner in the memorable difcourfes recorded by Xenophon; and in Plato we have analyfes of a much greater num- ber of Heps. What kind of inltru&ions So- crates gave to this young noble- man, may be feen in the firfl and fecond Alcibiades of Plato. The firfl: tending to cure the youth of the vain ambition of embarking himfelf in affairs of ftate, with the fuperficial accomplifhments of having learned to dance, and play upon the lyre; and to point out to him the neceflity of furni- ture of a fuperior kind to be able to perform his duties to his coun- try with dignity. The fecond un- folds the nature of prayer; and is SCHOOL of ATHENS, 181 calculated to convince the young man, that we are ignorant of the nature of what things are truly good, and ought therefore to pray to the Deity to grant us thofe things that are good, whether we afk them or not; and to withhold thofe that are evil, even when we alk them. Without the afliftance of the Socratic philofophy, Alcibi- ades had perhaps been only re- markable for his profligacy; but the tincture of wifdom he received from Socrates, together with his own genius, enabled him to fhine in private companies and courts of juftice, in affairs of peace and war. Had Alcibiades reduced the morals of Socrates to pradtice, as Xenophon did, he would havq M 3 i8« RAPHAEL'S been one of the mod illuftrious and amiable of mankind. We come next to the fchool of Plato ; whofe difciples appear all on his right fide* The firft, neareft the foreground, is a graceful figure ; whofe head is feen in profile, leaning for- ward ; his hair is long and bufhy ; his face beautiful ; his attention Hill ; and the air of his head graceful ; his arms are acrofs his breaft ; his robe is light blue, and his mantle white, fringed with gold; the light falls plentifully on his breaft, right arm, and thighs ; his body refts upon his left foot f and his right thrown back, refts upon the toes. The figure neareft him, with SCHOOL of ATHENS. 1% a red and green drapery, lays his right hand over the moulder of the perfon defcribed; and turn- ing about his head to the left, and holding out his left hand, his fingers curved, feems to be whifpering forae obfervation on the difcourfe of Plato to a perfon in blue drapery on his left hand. Beyond, is a figure in yellow drapery, with a fagacious coun- tenance and large beard, who re-r fembles Ariftotle. This is a fur- ther confirmation that the picture is to be viewed like a fucceffive hiftory, and not to be confidered as a fubjecT: where the figures re- prefented are fuppofed to be ir\ the places where they are, all at the fame time. M 4 1 84 RAPHAEL* S Plato, in a purple robe and red mantle, Hands over-againft the open air ; the great arched gate behind him being open. Under his left arm he holds his dialogue called Timaeus, from the name of a Pythagorean, whofe docflrine it contains: with his right hand lie points to heaven ; an attitude fuitable to the book in his hand, which teaches, that God formed the univerfe by a plan or arche- type; not taken from any thing without, but from the divine mind. From this Eternal Source the ideal world, and the world or tiniverfe itfelf received exigence. The fimple and infinite Being is alone unmade, and abfolutely e- ternal and independent. SCHOOL of ATHENS. 185 The philofophy of this great philofopher has been by many I called divine ; becaufe in all his works he removes evil far from God, and endeavours to folve all appearances in confiftency with infinite power, wifdom, and good- nefs. His writings are full of the divine origin and immortality of the foul, and of the influence of the Deity in infpiring the heroic and divine virtues. His theories are agreeable to the dodrine of the Egyptians and Orientals, from whom he had his hints. His pi- ety and morals are agreeable to the fpirit of the Chriftian religion; and his writings were, according- ly the delight of the mod en- lightened of the Greek Fathers, 186 RAPHAEL'S We come now to the lad fchool of univerfal philofophy,the fchool of Arifiotle. His fcholars Hand on the left fide. The eldefl of thofe in the firft line is Theophraftus ; he i§ neareft the foreground j his head is almoft bald, and feen in pro- file ; he has a long forehead, and a large Roman nofe; his beard is growing grey, and of a confide- rable length ; his left hand is con- cealed by his drapery, and his right hand is upon his breaft; The light falling down obliquely from the left of the pidlure, ftiines upon the whole of his left fide down to the end of his robe. The figure to the right of The- ophraftus, brings about his lef$ SCHOOL of ATHENS. 187 (arm to reft upon Theophraflus's left flioulder. The face of this fi- gure, which is feen in profile, is thrown infhade by Theophraflus. The next figure, a little more i advanced towards Ariliotle, ap- pears in a blue drapery, with his right hand lifted up and open ; his head is uncovered, as the o- thers alfo are; his face appears very young, and his beard has not begun to grow ; he has a placid admiration in his counte- nance- There are four figures that fol- low in the fame line; all pleafed with the difcourfe of their maf- ter, expreffing their fatisfadlion in their looks in different manners. ■ The painter has given Arifiotk 188 RAPHAEL'S his book of Ethics, which he flip ports with his hand on his left thigh; and his right hand, fpread out towards the foreground oi the pifhire, is forefliortened, and fuitable to that calm perfuafive eloquence, which recommends that moderation of the paffions which avoids excels and defe6L| He placed virtue between thefe extremes. Some fpeflators, by the turn of Ariftotle's head towards Plato, imagined them engaged in dif-i pute ; but the books the painter has given each, and the attitudes, are inconfiftent with this notion, which is otherwife inconMent with hiflorical truth • for it is always to be carried along in the SCHOOL or ATHENS. i8 9 mind of the fpe&ator, that the fchools reprefented are not of the fame time. Raphael has been well directed in making Theophraftus fo con-* fpicuous among the fcholars of Ariftotle; for he was his favou- rite difciplc, whom he thought mofl worthy of being his fuccef- for in teaching philofophy. Ariftotle, the father of fyflems, became the great favourite of the Moorifh and fcholaftic phi- lofophers. Ail fciences, divine and human, in imitation of him, were , reduced to fyftem ; though the parts were often com po fed of un- certain opinions, and ill founded ■ hypothefes. The barbarities of commentators were imputed to 190 RAPHAEL'S their matter, which occafioned an excefs of negledt to fucceed to an exceffive admiration. It is perhaps to Ariftotle we owe the general plan of univer- fity education. He firft reduced logic to a fyftem; he added a fy- ftem of rhetoric, of poetics, of natural philofophy, of univerfal philofophy or metaphyfics ; to thefe he added mechanics, the natural hiftory of plants and ani* rnals. He wrote two fyftems of ethics ; one on the more general and important points of morals j and the other more in detail, ad- drefled to Nicomachus; and alio a book on politics, including an account of the different forms of government* SCHOOL of ATHENS. i 9 t There are three figures in the ( fchool of Ariftotle behind Theo- phraftus; two of them are middle aged ; the other is more advanced in years, his head is grey, and j approaching to baldnefs. The young man who leaves the mathematical fchool,we mull fuppofe enquiring for the fchool of Ariftotle; to whofe difciples mathematics were no lefs necef- fary than they were to the difci- ples of Plato. It is agreeable to verifimilitude that a fcholar of Ariftotle fhould point out his mafter to one who defired to enter his fchool ; but he could not confidently point out where Plato taught, unlefs we fuppofe their fchools contem- porary. i 9 2 RAPHAEL'S Immediately beyond thefe fi- gures there is a youth, who lay«> ing one thigh acrofs another refts his book upon it, feems to write with diligence, keeping his book fteady with his left hand ; he bends forward, and his body ap- pears finely detached from the back-ground of the picture. By this youth there is a man pall middle age, wrapt in a yel- low cloke, who refts his arm up* on the relievo of the fame pil- lar ; his countenance bears the mark of recollection and thought. On the fame plane there are four more figures; two of them very old, one middle aged, and one very young. The firft, in a loofe red dra- SCHOOL of ATHENS. 193 pery, is feen in front; his head is bald, and a little turned to the right; his complexion frefh; his beard grey and long ; his hands appear coming from below his red drapery. This perfon is in the attitude of ftanding; and clo- fes his eyes to avoid all difiipation of thought. The old man in light green drapery is feen in profile ; he flip- ports himfelf with his ftafF; but does not, on that account, appear to be blind, altho' Bellori and Be Piles are of that opinion ; nor is it any way probable that Ra- phael would have introduced Dc~ rnocritus as entering the fchool of Ariilotie, who was a contem- porary of Hippocrates ; and whofe - "N i 94 RAPHAEL'S philofophy was difiimilar to all the fchools introduced into this pidture* The two extremes of the pic- ture are the only places where fi- gures in motion are reprefented; and they are the moft proper, be- caufe they are confident with the repofe which the fubjeft- requires in the reft of the picture. There remain on the fore- ground of the picture nine ft* gures ; four employed ill learn- ing mathematics , who are all young. The mailer who beaches them, is delineating a mathematical fcheme on a Hate with his com- paffes. The young man in blue, moil SCHOOL of ATHENS. 195 advanced on the foregroimd 5 Iooks with great attention to the fcheme; but feems in fufpence, as not yet fully underftanding what he feems very defirous to learn. The youth beyond him in pro- file, with a deep green drapery and red fafli, is alfo actively llu* ! dious, but in part at a lofs. The action of his left hand feems to mark his attention to a particu- lar ftep. The young man in the middle, with a light green drapery, who points to the fcheme with his left hand, turning his head and look- ing upward, feems pleafed with the confcioufnefs of his appre- hending the demonftration; and defirous of affifting his compa- N 2 i 9 6 RAPHAEL'S nion above him, by rotifing his attention to truths in themfelves evident, and no way perplexing to thofe who proceed at leifure, flep by Hep. Raphael has honoured his friend Bramante by giving his likenefs to the matter of the ma- thematical fchool. Thefe five figures are beauti- ful, and finely illuminated; all the attitudes are fuch as require an entire difengagement from the background of the picture. The execution is equal to any thing of the kind; and of all the School of Athens, no part evidences more the great mailer. The forefhor- tenings are fo finely executed, that the figures appear real life, SCHOOL of ATHENS. 197 The fciences of geography and aftronomy depend fo much on mathematics, that they could no where be better placed than fol- lowing the mathematical fchool. The teacher of this fchool is drefTed in a white drapery ; his head is covered with a red cap ; his complexion is frefh, and his beard of a brown colour: he is, at leaft, fifty years of age. It is probably the portrait of fome eminent aftronomer in Raphael's time ; for his features are fo particular that they lead one to believe that the countenance is copied from nature. He holds out his right hand towards the foreground of the pidture; the loofe drapery of his fleeve touches N 3 i 9 8 RAPHAEL'S almoft his fingers; the ftiorten- ing of this arm is mafterly; and the celeilial globe, which he holds in his hand, appears furrounded bv the air. The rayed crown which the young man has on his head, points out his dignity as a prince. 1 he cloth of gold in which he is drcfled, was much in fafhion a- mong the great in the days of Raphael. Kad Raphael intended a par- ticular portrait, he would not have given us a back view of the fi- gure; but by putting the terres- trial globe in the hands of a young prince, he perhaps intend- ed to infinuate, that cofrnogra- phy ought not only to be protec- SCHOOL of ATHENS. 199 ted, but ftudied by princes ; by which they are enabled to dis- cover new countries, and extend their empire, enlarge their com- merce , and civilize the barba- rous parts of the world. When Raphael painted this pidlure, A~ merica was a late difcovery, which could not fail to recommend the lludy of fciences fo neceflary to navigation. The abufe made of thefe difcoveries ought not to be imputed to the fciences on which they depend, but to the boundlefs avarice of cruel and wicked men* The two figures which remain, are known to be the portraits of Raphael and Perugino. The youth and fair complexion of Raphael is fet off by the mon$ N 4 soo RAPHAEL'S dark complexion of his mailer Perrugino. Some enquire why Raphael has placed his own pidture in the fchool of aftronomy? This quef- tion perhaps goes upon Raphael's being placed there in his own character; but this is not the cafe: he is to be confidered, like others, as a Grecian difciple of a Grecian m after; yet, from the modeft and juft defire of glory, he might wifh to record, that fo great a work was done by fo young a man. Indeed, when we look on the early bloom of his countenance, and the great and noble work he has performed, it heightens our admiration to aftonifhment ; yet, in Raphael's countenance we fee SCHOOL of ATHENS. 201 no felf-importance, but great fim- plicity and modefty. He has pla- ced himfelf lafl in the picture, putting his mailer nearer the foreground ; as one whom he thought had a juft title to fhare in the honour of his works. Theagenes, as Captain of a fa- cred Band, receives the Torch from Chariclea, Frieftefs of Diana, to kindle the Sacrifice on the Tomb of Neoptolemus. A Fidhire by Raphael, affiiled by Julio Romano. The dimen- sions are, four feet ten inches in height, by feven feet five inches in breadth. THE three principal figures, Cha- riclea, Theagenes, and Knemon, are undoubtedly of the hand of Raphael; and the difpofition of the whole pi6hire is in his man- ner and taite. The Magdalene, in the St. Ce- cilia, has been long celebrated as aoA, RAPHAEL'S on& of the moil graceful figures of Raphael. Chariclea, who has fome refemblance in the broken colour of the drapery and in the pofition of the feet, feems upon the whole to rival, and even fur- pa fs the Magdalene. Chariclea holding the torch in her right hand in filent amaze, Theagenes ftretches out his left hand to receive it. She is in the temple of Diana j and, as prieft- efs, wears the crefcent; in her left hand {he holds a bow of gold ; a gold chain hangs acrofs her breaft, to which is appended a quiver full of arrows, which is feen a little above her left fhoul- der ; her girdle, in the form of two ferpents, their tails tied together Theagenes & Charicle-a. 205 behind, their necks wreathed in ,one another at their breads, and their heads hang down like two pendants ; their colour is green, ap- proaching to blue, upon a yellow ground. Her hair, which is plaited, is fnooded with laurel ; the or- , nament of a robe round her neck \ is green, fringed with gold, and I in the center adorned with preci- : ous Hones j the colour of her up* per robe refembles filver; and her i under robe, which hangs down to the ground, is cloth of gold* j the folds in the fliade of a purple hue. Nothing can furpafs the : elegance of the folds of the dra- pery; they are equally natural : and beautiful, and do honour to Raphael himfelf. Her left foot is io& RAPHAEL'S fo placed that the toes feem to come beyond the limits of the foreground of the piehire, and a light coming behind the heel, de- ceives one fo as to make him imagine that he fees round the foot ; her right foot, thrown be* hind, refts upon the toes. A green mantle hanging behind her floats in the air. She is taller than any of the nymphs who attend her ; her eves are blue 5 her mouth is fmall j her form fiender ; her arms plump; and her feet little. The nymph in the extremity* feen clofe by the pillar, is a pro- file of extraordinary fimplicity and beauty. The next is feen in front, part of the face concealed by the heads on each fide. Theagenes & Charxclea. 207 The nymph next Chariclea's left arm, refembles the Venus of Medici in the difpofition of the neck and head. They are all crowned with laurel; filcnt; and diverfified by different attitudes, and by the management of light and fhadow. Neareft Theagenes Hands the prieft of Apollo, an old man with grey hair and beard; his drapery is blue, faced up with red ; his face is fliewn by a faint light, as he ftands below the torch near a head lower than Theagenes, hard by a pillar of the temple; his left hand, in fliade, is but flightly painted ; and is probably neglec- ted on purpofe to heighten the beauty of Theagenes 5 hand near so8 RAPHAEL'S it; which is alfo a back view of the hand, though in a different pofition. Theagenes is a little more feen than profile ; his features referable the countenance of Marcus Aure- lius after he arrived at manhood, but ftill young ; but the form and expreffion of the mouth are dif- ferent. Theagenes is crowned with laurel ; the hair of his head partly fhort and curled, and part- ly hanging on his fhoulders. His drefs is military, coming a little down beyond the middle of his thigh ; the colour is azure, or iky-blue; hisloofe mantle, which hangs behind, is fcarlet ; the folds are beautiful, and the manage- ment of the light and fhade. Theagenes & Chariclea. 209 There comes acrofs his bread a belt, to which his mantle is fixed ; this belt is green, fringed with gold, joined by a link of a chain. There are fix figures beyond Theagenes, which are all in fliade, or only feen by a faint light: four of them have helmets on their heads, and two have their heads uncovered. Thefe feem to be painted by Julio Romano, the colouring being like his. The figures in the extremity give one the idea of a crowd un- feen, that prefles hard upon them. There are two figures, one flretch- ing his neck upwards, and the other bending forward/mark their curiofity to fee. O aio RAPHAEL'S The head of Knemon is fecit in profile, with his eyes directed towards Theagenes and Chai iciea; his head is covered with a hel- met ; his mantle is of a lighter red than that of Theagenes, but is fixed in the fame manner, by a white ribband, joining with three links of a chain at the middle of his breaft ; his mili- tary drefs is a bright yellow; and the fhort drefs under it, like the kilt of a highlander, is white, with a blue tint. There is a Cupid in the deep lhade, which takes hold of the lower part of Theagenes' red robe. The right hand of Knemon, in fhade, and the Cupid below it, are both imfiniflied. Thefe feem THEAGENES & CliARICLEA. 211 not intended to attract the eye ; but neither this, nor the ne- gligence fetting off the more fi- nished adjacent objects, fully ac- count for this negleft in a fatis- fying manner: perhaps the pic- ture was among thofe which had not got the laft hand when Ra- phael died, and the proprietor of J the pidhire might choofe to have what was done by Raphael's own hand to remain as he left it. At the left fide of the pi&ure there are two venerable old men, who Hand lower than others in the company ; the younger of the two is drefled in red, and feen in profile with brown hair, looking eagerly up to fee Chariclea ; his bread being towards the fpedta- O 2 212 R A P M A E L'S tor, his looks are obliquely direc- ted over his right fhoulder ; and with his right hand he takes hold of the arm of the fuppofed father of .( hariclea, who is before him; who is dreffed in a loofe blue robe, which alfo covers his head; his left hand is flretched forward from the elbow, his thumb up- wards, and his fingers curved, feems to acquiefce with pleafure in what is going on ; his com- plexion is frefli and his beard white ; his eyes are directed to- wards Theagenes. Above this man there is a head turned partly to the other fide of the pidture with fhort grey hair and beard ; on the right fide of the head there is a ruff without Theagenes & Chariglea. C13 any plaits, which feems to be of white fatin. This head does not belong to the compofition ; but is a well finiftied portrait; pro- bably of fome perfon of diftinc- tion, at whofe expence the pidture was done. Upon the whole this makes one of the mod pleafing pictures in the tout-enfemble, and in the par- 1 ticulars. The efFeft of the whole pleafes at firfl fight, and the longer the pidhire is feen it pleafes the more. The advancement of the three principal figures divides the pic- ture into three groups ; the de- tail of which invites at leifure, af* ter the principal figures have d§% O 3 2i 4 RAPHAEL'S &c. lighted the eye and the under- ftanding. The light coming from the torch is thrown upon Chariclea from the right fide of the pidture, and upon Theagenes and Knemon from the left. This picture is an example of a great painter handling a fub- jed altogether tranquil, and yet rendering it exceedingly pleafmg and interelting. The VefTel of The a genes and Chariglea taken by Tracks nus the Pirate, after an Engage- * ment with the Tyrian Mer- chants. A Pi&ure defigned by Raphael ; probably painted by three of his fcholars, and retouched by him- felf. In the expreflion of the pafli- ons we fee the truth and fimpli- city of Raphael, his beauty of forms and cafe of attitudes ; in the ornament of the fhip the taile of Polydore, and his great relievo in the figures ; in feveral of the figures we fee the fire of Julia O 4 216 Theagenes & Ckariclea Romano ; and in the figure of Chariclea perhaps the clear man- ner of Perino del Vaga. The dimenfions are, four feet eleven inches in height, by feven feet eight inches in breadth. This pidture, the companion of the former, is its contrail; the firft being perfectly tranquil and peaceful, and this tragical. The fcene is feen by the light of the moon. The perfons engaged in it are in a fhip at fea, not far from land. In the fhip is Theagenes, Cha- riclea, the old man who is fup- pofed to be their father, Calafiris, and Knemon; together with a company of Tyrian merchants, whofe riches, and the beauty of Taken by Pirates. 217 Chariclea,had induced Trachinus, the captain of a pirate veflel, to purfue them in order to obtain both. The Tyrians, refolving to refill, occafioned at fir ft a good deal of {laughter; but they, after trial, being convinced that the pirates would put them all to death, fur- rendered and fupplicated for mer- cy ; hence that general terror on their countenances. The particu- lars of the engagement are not related by Heliodorus, which leaves the painter at liberty to imagine the fcene as he judged would produce the greateft effedt on the fpectator. The time of the pi£ture ap- pears; by the attitude of Chari- 2i8 Theagenes&Chariclea clea fupplicating Trachinus not to feparate her from her father and brother; that is, from the old man who fits behind her, with a blue mantle that covers his head, feen in profile, with his hands on his bread. Knemon fits beyond, and a little behind him, By her brother fhe means The- agenes ; who appears to be in di- flrefs; whether from wounds, or from their having begun to fe- parate him from Chariclea, by forcing him out of the vefTel, is uncertain ; as there is no account of his being wounded, or any of the company of Chariclea having joined the Tyrian merchants in defence of their wealth : we, ac- cordingly, do not fee the fame Taken by Pirates. 219 concern in the countenances of Calafiris or Knemon. The colouring of Raphael does not appear in this picture. The ornament in clare-obfcure, on the outer fide of the veflel, looks like the tafte and execution of Poly- dore. The clear colouring of Cha- riclea leads us to afcribe that fi- gure to Perino del Vaga. The other figures, in general, appear to be the colouring of Ju- lio Romano; though perhaps at the extremity of the left fide, the work is partly performed by Po- lydore. The man, who is lifting Theagenes, in the extremity, and perhaps all the figures on the left fide of Trachinus, fliew his tafte in drawing, and the extraordinary 220 The agenes & Cha riclea relievo for which he was remark- able. As the Tyrian merchants are not diftinguifhed by names in Heliodorus' narration, nor yet the crew, we cannot give the names here, the fecond in command on- ly excepted, who is named Pelo- rus, and feems to be the perfon in green whofe right hand is flretchedout with a dagger in it; the whole body of this figure is very round, and detached from the ground, the fea being feen going back a great diftance be- yond him. The perfons belonging to the pirate are diftinguifhable by their arms and by their determination. The Tyrians are diftinguifhable Taken by Pirates. 221 by the expreffions of pain in their countenances who are wounded, and others by their fear. The ex- preffion of the pailions is marked wirh propriety, force, and fimpli- city. The painter has introduced dif- ferent ages to give variety to his compofition: and the number of forefhortened figures fhews that the greateft difficulties of the art are not lliun'd, and the execution is fuitable. The forefhortened figure on the left fide of the picture, with the blue military drefs and the red mantle, is the only perfon we can take for Theagenes ; and, ak tho' painted with great, ability^ as appears by the mafteriy fore- 222 T'heagenes and Charlclea &c. ihortening, yet falls greatly off in the beauty and graceful ap- pearance of Theagenes in the o- ther pidture. Perhaps this diffe- rence is owing to the forefliorten- ing, and melancholy circumftan- ces of Theagenes. After diligent enquiry I can find no repetition, nor print, of this, nor the preceding picture; only one gentleman faid, he had feen tapeftry done after them, be- longing to the King of Portugal. Thefe two pictures, being of the fame height, and parts of the fame ftory, fliew they were in- tended as companions ; the dif- ference of their length mud pro- ceed from their being intended to fill up a particular place. T H E UNION O F PIETY and CHARITY. A Picture painted by Pietro Peru- gino, mafter of Raphael, and by Raphael himfelf- The dimenfions are, ten inches in height, by one foot eleven inches in breadth. Altho' the manner of painting is the fame in this picture and the following, yet the great pro- priety of characters leads us to afcribe the fecond to Raphael alone. One part of the frrit pic- ture being indeed a variety of beggars, is not lb favourable to the art; but in fome of them we 224 THE UNION OF fee the tafte of Raphael ; particu- larly in a young man who holds out his hand, and in a lame man, clone in the fame tafte with the man cured at the Beautiful Gate. The right fide of this pi&ure reprefents the infide of a church. Upon the wall, fronting the fpec- tator, are hung feveral pidhires; of which the remoteft to the left, reprefents the adoration of the wife men ; and beyond the candle- fticks, which ftand upon the al- tar, appear fcveral heads, with the circle of fanftity above each. Three priefts, with furplices, and veftments of green adorned with gold, ftand before the altar; one with the mifTal open before him, the other two with their PIETY and CHARITY. 225 I hands joined, and their heads bowed down, join in the devo- tion. At the right corner of the pic- ture, two men Hand upon a mar* ble pavement; the one with a ; loofe blue robe; and the other i with a robe of a dufky red colour, Their heads are uncovered. On the other fide Hands a man, with his head likewife un- covered, with a brighter red robe, below it fomething like a kilt, |of a yellow colour. His drawers, which are white, and fliaded with blue, are feen to cover the upper part of his feet and thighs. In the entry of the church two men Hand with their heads P 226 THE UNION OF covered, with a cap of the form of the Scots bonnet; their loofe drefles are of broken colours, the one of a dufky brown, the other tending to a lead colour. Without the walls of the church appears a young man furrounded by beggars. His bonnet-like cap is red; his hair brown, tending to red ; his face is feen in profile ; his body is turned fo as to be feen three quarters ; the linen of his Ihirt is feen about his neck and breaft; his upper robe is fcarlet, thrown loofe with waving folds; his under robe, refembling the kilt, is yellow and figured ; above which, to the right, hangs a large purfe ; his ftockings referable thofe formerly mentioned* PIETY and CHARITY. 227 On his right are three figures. One of which, nearell the fore- ground, is an old lame man upon his knees, leaning upon a Hilt un- der his arm j with both hands he holds a difh, into which the young gentleman is ready to let fall a ■piece of money, which he holds between his finger and thumb ; the head of the beggar is feen in profile ; his grey hairs are divided, and his beard long j his upper ' covering is fhort, and of a yellow ; colour fhaded with red ; and the drapery which covers his thighs and legs is blue. He refembles the lame man at the Beautiful Gate in Raphael's cartoon. J The figure that Hands between the old beggar and the young P 2 22$ THE UNION OF gentleman is the youngeft of two boys. He feems, by the pofition of his hands, and alfo the appear- ance of his eyes, to be blind; his face is not a full front view, but near it ; his hair curled ; his dra- pery blue, and his llockings of a broken green. The third figure is behind. His drefs is of a ruflet colour; his neck and part of his breaft naked ; his hair yellow ; his face frefli coloured, which is feen a little more than profile; his left arm is flretched out, his hand open, to receive alms. As he is behind the perfon from whom he feeks it, his ftretched-out arm prefles a little upon the arm of the gentleman to engage his at- tention. PIETY and CHARITY. 229 On the left fide are alfo three beggars ; two of which are wo- men with children. The woman moft advanced on the foreground, holds out a difti with her right hand, into which the gentleman is dropping a piece of money with his left; her other arm is about a naked child who Hands by her, looking upwards, with his arm lifted up ; the pofition of his limbs is near that of the pof- fefled boy in Raphael's Transfi- guration ; the face of the child is feen in profile, and the head of the mother near a profile. The light falls ftrongly on this mo- ther and child, particularly on her face and the body of the child; and, in that refpedl, coi^ s 3 o THE UNION OF trafts with the figure of th elame man firft mentioned. Behind this woman is an old man ; his beard grey ; his hat, and upper covering of a ruflet colour; his hands are ilretched towards the young man ; his thumbs and fingers touching one another: he is feen almoft in front; and feems to be affuring the young gentleman of the re- ality of his poverty, whofe eyes are turned to him with a com- panionate look. Beyond thefe figures laft men- tioned, flands an old woman: the linen on her head is covered by a fcarlet cap; her gown is blue, with a fcarlet cloak tied with a knot over her right fhoul- PIETY and CHARITY. 231 der; her right arm is ftretched out, over which hangs a bafket finifhed with great neatnefs ; her forefinger and thumb is ftretched out, the other three fingers cur- ved ; her feet are uncovered ; me has a naked child in her arm, fupported partly by her left hand, and partly by a piece of yellow drapery, which comes over her moulder. The child takes hold of the red drapery below the mother's breaft with the right hand, and with the left takes hold of a round loaf held up with both hands by a girl of five or fix years of age; the light falls on the breaft, thighs, and legs of the child, and upon the face, vmich, P 4 232. THE UNION &c. is a little turned downward to- wards the loaf ; the fliade on the left fide of its body gives it a good deal of relievo; and a light which falls down behind this fhade on the arm of the mother who fup- ports the child, detaches the bo- dy from the background in fuch a manner as to deceive the eye. The girl who hands up the loaf, is looking upwards, ap- proaching a profile, but both eyes and the mouth are feen ; the dra- pery on her arms is white, the folds circular; the reft of the dra- pery is of a greenifli blue ; the legs and feet are naked, and, as the others, fhaded with black. Behind are trees and build- ings. THE COMFORTABLE DEATH O F A GOOD MAN. A Pi&ure painted by Raphael. The dimenfions are, one foot and half an inch in height, by one foot feven inches and an half in breadth. The fcene of this picture, the companion of the former, is a monailery of elegant architecture. The fubjedt is, the death of an old man, at the moment of his expiring. His foul, clothed with an aerial vehicle, is reprefented carried up to heaven by two an- gels, who are upon the wing, 234 THE DEATH OF above the heads of thofe prefent; the foul is furrounded with light. His body lies upon a bed or couch, the covering of which is red; the bolfters are fo high that he almoft fits ; his head is bald I the hair of his beard is grey ; his mantle black and gown blue j altogether uncovered by any bed- cloths ; his hands take hold of a crucifix, but wanting power to fupport it, this is fupplied by an old man who ftands at his left fide, and lays his right hand on the forepart of the fhoulder of the perfon expiring, and fupports the crucifix with his left. The freihnefs of this old man's face contrafts with the pallidnefs of the perfon juft expired 5 on A GOOD MAN. 235 whom his eyes are intent ; his head is bald, his beard grey j his cloke b[ack, his other drapery brown; his head and hands are in the light; the reft of his body, more or lefs, in the fliade. I To the left of this perfon ftands , another venerable old man, more ered, and more in front ; but his eyes are alfo turned to the perfon juft expired; his hands are lifted up and folded together; his up- per drapery inclines towards a purple, and his under is blue ; a I fmall red cap covers the upper part of his fhaven head; his face is frefh coloured; what hairs are on his forehead are brown ; his beard is not large, but grey. To the left of this figure ftands 236 THE DEATH OF a young man bending forward his cloke is black ; his undei drefs white; his hands ftretche out before him; his thumbs an ends of his fingers touch one an other; grief appears in his face a light from above falls upon his head, his bread and right arm; the fliarpnefs of which is heightened by the black colour of his upper drapery in the fhade. Beyond this young man, at the foot of the bed, {lands a figure of uncommon dignity, that may well put one in mind of St. Paul preaching, in Raphael's cartoon yet without any famenefs; his fhaven head is feen in profile ; and that which remains unfhaved, tending to grey; the colour of A GOOD MAR 237 jhis face is vigorous and frefh ; jhis beard of a filver white ; his hands and arms are lifted up; but his hands hardly touch one another; not, however, expreffive I of oratory, but of devotion and ! filence. A little before this figure is another old man, upon his knees^ whofe head is feen in profile ; but who looks with great intenfenefs at the perfon juft: expired; a flrong light falls upon his head and flioulders ; his mantle is white, ! and under-drefs of a ruflet colour ; his arms crofs each other, and his hands are upon his breaft; his head is bald, and the hairs of : his beard and neck grey ; his fkin fair, with the freflmefs of aii old man. i 3 3 THE DEATH OF On the other extremity of the picture ftands a young man bend- ing forward ; grief and watching appear in his countenance ; his drapery is blue; his hands are folded together in the attitude of devotion. The moil of all advanced on the foreground of the picture, is another young man, at the lide of the laft mentioned; he is feen in profile; his upper clokeis ruf- fet, and his under- drapery white ; he kneels upon his right kneej upon his left is a Prayer-book; his left hand is upon the open book ; and his right upon his face, wiping away his tears. Behind him, fomewhat higher, is placed a window, from which A GOOD MAN. 23$ are feen buildings that appear of white marble: from the window a light falls upon this and the other figures. Under an arch, on the other fide of this pi£hire, is an open window; from which comes a light that brings forward the wall on which it is placed, towards the foreground of the picture; and beyond this wall the eye is re- frefl led with picSturefque landfkip, Ireprefenting trees, water, ruins, and buildings. Thefe two pictures appear to be the hiftory of the fame per* fon, who has been canonized: their form, turning inwards to- wards the back, and rifmg gra- dually towards the midft, have s 4 o THE DEATH &fe. been probably the fides of a box, containing the relics of the per- fon whofe hiftory is here painted upon it; and perhaps belonging to a monaftery, whole chapel and members are here represented in their habits- No prints feem to have been engraven after thefe two pic- tures. ( «4* ) THE WOMAN taken in ADULTERY. A Picture by Raphael. Painted on wood, in his firft manner. The dimenfions are,two feet five inches in height; by two feet ten inches and an half in breadth. I have an old print of this pic- ture, but fo cut in the margin, that neither the name of the painter nor engraver is left. The face of our Saviour in the print is altogether different, and far inferior. This print was perhaps engraved from a pidlure of Peru- gino ; if fo, the prefent is un* doubtedly improved by Raphael, Jlnis pidure is compofed of 2 4 2 THE WOMAN eighteen figures. Our Saviouf Hands on the foreground ; his face a little turned towards the left; his right hand open, and lifted from his bended elbow; , his drapery is red, ornamented with gold , and a mantle of a ferown colour. There are feven figures on his right hand. On the foreground is the wo- j man; and immediately behind her a man in armour, with a bat- ton in his right hand. Spears of different forms, that appear above the heads of the figures on the right fide, mark the woman to have been made prifoner by an | armed party. The woman is feen la profile; her neck, flioulder, and arm, uncovered ; her drapery j TAKEN in ADULTERY. 243 [is linen, with a dark cloth, fringed with gold. There is firetched out from a igure hid in the ground, a hand ind part of the arm withered and leformed. A figure behind our 5aviour points to this hand, and eems to be very much affected viththe fight; his head is turned [jo the left, and feems to be in :onverfation about this fubjedl. All thofe on the left fide are ews, without armour. An old nan, bare-headed and bald, feems 0 be reafoning from the law, hat the woman fhould be pu- liftied. He looks intently upon >ur Saviour, and by the attitude f his hands is fpeaking in an arneft manner. 0,3 244 THE WOMAN &c; A figure molt removed to the left fide, turns about his head, and fpeaks to his neighbour; pointing, at the fame time, with his right hand to our Saviour, to denote that he is the fubjedl ol converfation. Behind the other figures, anc raifed as Handing on an eminence there appears a blind man hold- ing out his hand for alms. The folds of the draperies are final 1, and without that elegant difpofition for which Raphael was afterwards fo remarkable. At the four corners of the pi6hire are painted fruits and flowers, terminated in an ova form, fo that you look at the pic ture as feen thro' a window. ( H5 ) THE VIRGIN and CHILD, with St. JOHN prefenting Fruit on a Plate to our Saviour, A Picture on wood by Raphael, The dimenfions are, one foot ten inches and one fourth in height, by one foot fix inches in breadth. Our Saviour ftretch.es out his hands open, and looks with an attentive expreffion to St. John. He is naked, and fitting upon the knee of the Virgin; who takes hold of his right foot with her right hand. She fits under a tree. The folds of the drapery are large and well difpofed. She has no drefs on her head but a braid : her hair is brown and long. 0-3 246 The Virgin and Child. The background of the picture confifts of a landfcape; in which are feen, at different diftances, buildings, trees, water, and re- mote mountains. I have heard of no print or repetition of this picture. ( «47 ) THE VIRGIN and CHILD. A Picture on wood, by Raphael, after he had feen the painting of Da Vinci. The dimenfions are, two feet eight inches and an half in height, by two feet one inch and an half in breadth. Never was any picture higher finifhed. The colours feein to have been ground fo fine as to be al- moft of the confiftence of oil ; and it mufc be one of thofe pictures which Vafari fays Raphael fini- fhed as high as miniature. On the foreground of the pic- ture, which imitates wainfcoat, there lies an apple of yellow tintj 0-4 248 THE VIRGIN and by it a clufter of large grapes* of a green colour. Immediately behind the apple and grapes, is a red drapery, part of the mantle of the Virgin. The Virgin's gown is filk, not of any original colour, but fuch a blending as is exceed- ingly pleafing, but difficult to name; as it is fo remote from any original colour. The Child fits upon a cufhion of dark purple, on which hang three gold taflels, done with fo much care, that there is not a thread unentire. The wall behind, and fupport of the cufhion are marble, partly adorned with precious flones and clare-obfcure ornament. On each fide a green curtain hangs down ; AND CHILD. 249 and beyond, an open window, from which there is feen a land- fkip. The firftobjed: that prefents itfelf to the eye is a tree, on the foreground of the landfldp, in the tafte which Raphael delight- ed in, accompanied with lefier fhrubs ; behind which there is water; and behind the water a magnificent caftle, the image of which is feen by reflection re- verfed in the water. Our Saviour s arms are round the neck of the Virgin, whom he falutes. With the finger and thumb of her right hand flic holds up two cherries; with her left hand fhe enclofes the Child, whofe foft flefli yields to her fingers. 250 The Virgin and Child. The numberlefs particulars of this pidture, proceeding from the wonderfully neat labour of the painter, it is impoffible fully to defcribe. There is probably no print, re- petition, or copy of this picture : the great quantity of labour it contains may perhaps have pre- vented its being attempted. ( tf« ) A FRONT VIEW O F T H E FACE of our SAVIOUR, PAINTED on wood by Raphael : very foft, and much in the ftyle of the former. The eyes and hair are of a dark colour, like the re- prefentation of the holy face on the napkin of St. Veronica ; but the face is too young to fuppofe it intended for that reprefentation. The dimenuons are, one foot in height, by ten inches and an half in breadth. We have feen many years ago, a head refembling this, painted on marble, and placed in a little marble chapel at Antwerp. ( 252 ) Our SAVIOUR, about Ten or Twelve Years of Age, PAINTED on wood by Raphael; or, as fome think, by Ludovico Dolce. The dimenfions are, one foot feven inches and three fourths in height, by one foot four inches and a half in breadth. Our Saviours hair is equally divided, and falling down on each fide in ringlets according to the defcription of Eufebius. The fliades are dark, and of a more than ordinary depth. The head is furrounded with a bright ground, which terminates in dark. His upper robe is blue, much darkened by fhade; and below it, round the neck and breaft, ap- pears red drapery. ( 253 ) OUR SAVIOUR IN THE CHARACTER of a SHEPHERD, THE fize of life; with a rod in the one hand, and the other hand fpread on his breaft. The folds of the drapery are large, and the execution mafterly. The dimenfions are, two feet one inch in height, by one foot feven inches and an half in breadth. This picture is painted with great freedom, and contains much of the excellence of the matter, I have a print of it, but without any name. It was afcribed to Ra- phael by one of the beft judges ; but, whether rightly or not, muft be fubmitted to the judgment of the public. ( m ) A WOMAN SITTING on the clouds, with a fword lifted up in her right hand* and a balance in her left, accom- panied by four young figures. On cloth, by Raphael. The two nearell the foreground of the pidhire are without wings j and the two fartheft advanced are winged. All the figures are finifhed 5 but intended for a ftudy or mo- del for his pi<5ture of Jurispru- dence, painted in the Vatican. The dimenfions are, one foot feven inches and an half in height* by the fame in breadth. This pidture is fineftred, or in- ( *tt ) clofed in a larger piece of cloth than that on which it was firft painted > and in the execution the face of the woman has been al- tered, and fome lefler circum* ftances varied. THE VIRGIN, A ftudy for a piclure of the Vir- gin and Child, on cloth, by Ra- phael. The dimenfions are, one foot feven inches and an half in height, by one foot three inches and three fourths in breadth* ( ^ ) THE HOLY FAMILY. A Picture by Raphael, on cloth ; probably a fetting out for Egypt; in which St. John the Baptift is taking leave of our Saviour. Jofeph walks before, carrying a fmall burden. The ground of the picture is a landfcape ; in which there is water and mountains. Some trees are reflected in the water. The dimenfions are, two feet eleven inches and one fourth in height, by two feet one inch in breadth. This compofition is engraved in two different landfcapes from The HOLY FAMILY. 257 I pictures of different proportions ; one of thefe pictures is in the Palais Royal , another the pro- perty of the Earl of Exeter; and I have heard of a third offered at a fale in Dublin, which the pro- ? prietor refufed to enter under This picture is four inches and a quarter larger than the one ! in the Palais Royal ; the colour- ! ing the fame, equally clear, and : the carnations equally fair : this is not the ordinary cafe with a : copy, which time commonly ren~ ! ders darker than the original. Subje&s of this nature, painted to excite devotion, were repeated ! as often as called for, commonly i with fome variations in the R 25S The HOLY FAMILY. ground, and in the form or liz of the picture j according to th place for which it was intended There is a print of this com* pofition with a different ground and the breadth double in pro- portion to the height. The landfcape in general is agreeable to the pidture in the Palais Royal, but diverfified in many particulars* The execution of this picture feems equal to that in the Palais Royal; but, after all, its merit is fubmitted to the judgment of the public. ( 259 ) T M E ' SLAUGHTER OF THE INNOCENTS. A High finifhed pidure in clare obfcure, by Raphael. This was intended to be enlarged into a cartoon for tapeftry. The a<5tion is all with the left hand, that be- ing reverfed in the tapeltry, it might be with the right. The cartoon enlarged from this picture is at prefent in the pofief- flion of Mr. Hoar, painter at Bath. It is faid to be damaged by a perfon with whom it was pledged during Oliver's ufurpat ion, from R 2 i6o THE SLAUGHTER a motive of refentment, becaufe the proprietor relieved the pic- ture. The fubjecft of this pi<5hife is indeed terrible; but the expref- fions are proper, and full of na- ture, not to be equalled by de- fcription ; the executioners of this cruel order appear unrelenting ruffians j in the countenances and actions of the mothers ap- pear all that terror, horror, an- gui£h,and defpair, natural to their 1 circumftances; accompanied with efforts to defend and revenge their innocent children, as prompted by nature. There are feveral prints done after defigns and pictures of Ra- phael on this fubjed, containing OF THE INNOCENTS. 261 t more figures, but in other refpeds not equal. Behind is a palace with fta- i tues of Mars, Venus, and Apollo* ! The fcene of the pi&ure is in the [open field. The dimenfions are, one foot fix inches and one fourth in height, iby eleven inches in breadth* R 3 ( 262 ) THE VIRGIN and CHILD, Accompanied with three an- gels ; of whom one on the right fide of the picture prefents a plate with fruits, and on the left two play upon inftruments ; one of which refembles a violin, and the other a guitar. Painted on wood by Raphael. The fcene of the picture is in the fields ; the background is a church and landfkip. The Virgin fits under a tree ; her right arm holds the Child, who is naked ; and her left hand fupports his left foot, his right refts upon her knee; his right The VIRGIN and CHILD. 263 arm is ftretched over her breaft, and his hand touches her neck, The drapery is red and green, which perhaps may have been originally blue. The air of the Virgin is graceful j but the pic- ture is not fo highly finifhed as feveral others in this collection. Within the principal door of the church appear fmall figures ; and within another door, more to the right, appears a group looking towards the fcene of the pi6lure. The dimenfions are, one foot four inches in height, by one foot one inch and one fourth in breadth, I know of no repetition op print of this pi&ure. R 4 THE VIRGIN fitting in a Grove. A Picture by Raphael, on wood. The dimenfions are, one foot five inches in height, by one foot ele- ven inches and three fourths in breadth. The Virgin's face is in front, a good deal reclined to the left ; her hair is fair; the covering on her head loofe, and hanging on her flioulders. The Child is feen in profile ; in an attitude in part differing, but which has a good deal of re- femblance to that of the Child in the famous Holy Family belong- ing to the King of France* A fhepherd, kneeling, takes hold with his right hand of the The VIRGIN and CHILD. 265 child's left arm ; there lies by him a Aiepherd's crook ; his dra- pery is blue and yellow. In the background, on the left fide of the pidhire, where the fhepherd is, is a thick grove, where fome rabbits are feeding. On the other fide of the pic- ture appears water, a bridge, and a tree, which by its nearnefs ap- pears much higher than any be- hind it. Beyond the trees appear feveral ruins on the tops of high moun- tains ; and nearer the eye, lower, the ruins of a palace, with a py- ramid; and before thefe ruins a piece of green ground on which cattle are feeding. I know of no repetition or print of this picture, ( 266 ) THE V I R G I N, SHEWING OUR SAVIOUR ASLEEP T o St. JOHN the BAPTIST. A Picture by Raphael, on a thick plank of wood, curved on the up* per part of the wood. The di- menfions are, two feet eight in- ches in height, by one foot eleven inches. and an half, The Virgin lifts up the light covering from off the face of our Saviour, and mews him fleeping to St. John Baptift, who kneels, The VIRGIN and CHILD. 267 and joins his uplifted hands in admiration; his expreffion of ad- miration is heightened by the opennefs of the mouth ; his hair is pale, without any covering. The gown of the Virgin is red; and a covering, which hangs down from her head over her Ihoulders, is of a faint yellow; her hair, which is red, is con- tralted with a blue filk that fur- rounds her head. The bed on which the Child lies is blue, and the covering of a brown colour. The whole produces a pleafing harmony. The ruins, and land- fldp behind are exceedingly beau- tiful. There is a fine print of this ( 268 ) compolition without the oval head; and, as appears by the ma- ny lener variations, from a diffe- rent picture. A PORTRAIT, SUPPOSED TO BE RAPHAEL. HIS robe is loofe, with a white lining. The dimenfions are, one foot eight inches and one fourth in height, by one foot three inches and an half in breadth. ( 269 ) THE PORTRAIT O F ISABELLA, Wife of Ferdinand, K. of Spain^ By Raphael. HER left hand is upon her breaft* and her beads falling, hang over her arm. There is a print of this portrait in the cabinet of Crozat. The dimenfions are, three feet four inches and an half in height, by two feet four inches and an half in breadth. ( ) THE PORTRAIT OF MARK ANTONIO, Raphael's Engraver, by Raphael. H E has a roll in his hand ; a con- fiderablc part of the breaft of his Ihirt is feen; his head is unco- vered; the view of the face is the fame which Raphael has given him in the picture of Heliodorus in the Vatican. The fame like- nefs of Mark Antonio is engraved in a Life of Raphael by Buret. The dimenfions are, two feet feven inches, by two feet two inches and an half. ( 2 7* ) A PORTRAIT, by RAPHAEL, O F BALTHASAR CASTIGLIONE, Raphael's great friend and pro- tedlor, in an oval form. T his por- trait has been engraved with Ra- phael's name ; a copy of which print is placed before the quarto edition of his Courtier, printed in Italian and Englifh at London* The dimenfions are, two feet fix inches and an half in height, by two feet and half an inch in breadth. 0 ( m ) THE VIRGIN lifting the Veil, and fliewing our SAVIOUR to St. JOHN. THE fame corapofitioh with the former picture on this fubjeft; but the Child is taken from a dif- ferent, and, in fome refpe&s, a better model. Well painted and highly finifhed, on wood. As I have not feen any of Ra- phael's pictures in that manner of colouring, I cannot afcribe it to him, but leave it entirely to the judgment of the public. The dimenfions are, two feet three inch^in height, by one foot nine inches and an half in breadth* ( *73 ) THE HOLY FAMILY. By Raphael. THE fame compofition with the , famous Holy Family in the King j of France's colle6tion.This pi&ure I differs in many fmali matters, particularly the flowers which are dropping by the angel, have no laurel among them j which j addition in the great picture is a I prefumption of pofteriority. Nor j does Jofeph, who leans on his hand, fit fo eredl as in the great pidure. §gp S ( m ) It appears by an infcription on the great picture, belonging to the King of France, that it was done two years before Raphael's death. There is a fine print at ier ^ it by Edeiink. There is another of the larger fize, which was fold at Luke S hob's fale, and purchafed by the Dutchefs of Portland. The effedt of this lefler pic- ture is hurt, when viewed near, By the fhrinking of the cloth; which probably has been occafi- oned by its being too much ex- pofed to the heat of the fun- It has alfo fuffered in other refpe$# by bad ufage. The dimenfions are, two feet five inches and an half in height. ( *75 ) by one foot ten inches and one fourth in breadth. THE VIRGIN and CHILD, With an Angel behind. THE Child is lifted by the Vir- gin, and flic feems to be about to falute him. The eyes of the Child are clofed as if afleep. The Child is more in the manner of Correggio than Raphael ; and is probably the work of feme great painter, who had both in his eye. S * 276 The Virgin and Child. The angel and Virgin are both very graceful; and the maternal affedlion of the laft is finely ex- preft* The dlmenfions are, two feet two inches and one fourth in height, by one foot feven inches and three fourths in breadth. Since writing the above, I have looked into a little book, wrote by Giacomo Barri, entitled, the Painter's Voyage, giving an ac- count of the pictures of the pa- lace of St. Mark, in the upper- moil chamber over the tribunal, he fays there is a Madona, with Chrift, and an angel, by the hand of Raphael. The picture now de- fcribed, is probably a copy, or ra- ther an imitation of this compo* The VIRGIN and CHILD. 277 fition, by Ludovico Carracci or Guido; if by the latter, it is in his firfl: manner of colouring. The drefs of the upper part of the Vir- gin's head is Bolognefe. ( ^ ) THE VIRGIN and CHILD, By Raphael. THIS pi&ure is graceful, and much admired. There is another with a different background, that was purchafed by the late Lord Baltimore; and there is one in the collection of the King of France; and as this fubjeft is often repeated, there are proba- bly others. The compofition here is the moft general and fimple. Its merit is fubmitted to the judg- ment of the public. The dimenfions are, two feet three inches in height, by one The VIRGIN and CHILD. 279 foot eleven inches and one fourth in breadth. There is a print after this pic- ture; and we have an original drawing* ( 28o ) THE VIRGIN and CHILD, With Four Angels. THIS compofition confifls of fix figures. In the middle of the pic- ture is our Saviour and the blef- fed Virgin. On each fide are two figures, of the fize of youths a- bout twelve years of age; but probably intended all to reprefent augels, though thofe neareft the foreground on each fide are un- winged, and the other two more advanced in the pidlure have wings. The one on the foreground, on the right fide of the picture, is The VIRGIN and CHILD. 281 feen at full length ; his face is in front, and beautiful ; his drapery is filk, of a light blue colour f with a red mantle ; his right hand touches a guitar, and is feen from the elbow uncovered ; his left forefhortened , and in fliade, holds the guitar; the toes of his right foot advance towards the foreground of the pi&ure; his leg, and to the middle of the thigh is in the light; the left leg is in the fhade, and the toes parallel to the heel of the right ; the light is on his face, right fhoulder, and right arm. The right arm of the winged angel embraces the one now de- fer ibed, and leans upon his right fhoulder ; he alfo leans his head 2S2 The VIRGIN and CHILD. upon the left flioulder* This an- gel is in fhade ; his carnation brown ; the expreffion of his countenance is full of the energy of good will, and the pleafure arifing from harmony. On the left fide of the picture the figure neareft the foreground is without wings; is feen in pro file; he holds the guitar with his left hand, which is neareft the foreground of the pidture ; and the winged angel on this fide of the pidture touches the inftru- ment, and is attended to by the one who holds the guitar with the refpc<5t of a difciple to a ma- iler; the mouth of the winged angel is open, as if {peaking; whether giving inftru&ions, or The VIRGIN and CHILD. 283 accompanying the mufic with fong, is uncertain, though there is probability for the firft. His left hand going round the flioul- ders of the other angel, his fingers are feen to reft upon the left. The outer fide of the left leg and thigh of the angel who holds the guitar are moftly uncovered, and in the light; the other leg is hid in the £hade,the toes of which only reft on the ground. The Virgin is drefled in red filk, with a blue mantle, which lies on her knee and on the ground; her right arm furrounds the child ; the back of her hand is feen in the light; the three latter fingers touching the na- ked body of the Child, a little 284 The VIRGIN and CHILD. 1 below the flioulder; and her left hand refts upon his right thigh; the light fails on the right fide of her face, and the left is in fliade; her head reclines a little to the left, and the head of the Child a little to the right ; the face of the Virgin turned, fliews that fide more fully than the one in the (hade. The right arm of the Child is flretched out, and croffing his Mother's breaft, his fpread hand refts upon her flioulder ; his right fide is illuminated with the flrongeft light, from the hair which covers the right temple to the toes. The colouring of this picture is warm; the Child is painted The VIRGIN and CHILD, affj after nature ; the Virgin grace- ful, and thought to refemble the Virgin de la Sedia. This pi&ure was in one of the befl collections in Europe, and is [[in the laft manner of Raphael. The dimenfions are, four feet in height, by four feet one inch sand an half in breadth. ( ^86 } RAPHAEL'S GALATEA, FROM his piclure painted in th€ little Farnefe; a copy painted in oil by Guido, in the ftyle of painting of his Aurora; probably done that he might have it by him as a model when he painted that picture and Bacchus and A- riadne. No pidhire of Guido or Alba- no is more richly impafled than this copy; the colouring is of the cleared kind, and at the fame time warm. The dimenfions are, five feet ten inches in height, by four feet five inches in breadth. Raphael's Galatea. 187 The compofition confifts of twelve figures, befides the fea- horfe and two dolphins. The co- louring of all the figures is frefli, and the expreflions of great viva- city and delicacy; fo that this co- py, far from diminiftiing the beauties of the original, feems to add the graces of Guido; and onght to be fo much the more efteemed, as the original has fuf- fered much by time. The ground of this pi&ure is fea and fiky. On the foreground there is a fea-cupid or nereid* who takes hold of one of the dol- phins with both hands ; his head is inclined to the right fide of the picture, his face feen almoft full; his mouth a little open., £88 RAPHAE L'S and his eyes looking upwards ; the under-fide of his right wing is feen fpread, and contrails with the darknefs of the dolphin ; a piece of red drapery comes over ! his left fhoulder, and falling down by his fide, fpreads under him, and his legs reft upon it; the light that falls upon this drapery, makes it partake of the white, which takes off from the ! fiercenefs of contrail it would j make with the fea, and heightens the beauty of the fair and frefll carnation of the Cupid. On the extremity of the left fide of the picture, beyond the dolphins, a triton, who is feen in profile, his back towards Galatea, blows a trumpet; his head is GALATEA. 289 drefifed with lea-weeds ; he has « no drapery, but his thighs are partly covered with a natural co- vering refembling the fins of a ififh. i Beyond this figure, and a little more advanced to the right, is a centaur, who carries a nymph; whofe left arm coming over his fhoulder, crofles his breaft; the body of the centaur is in profile, and his face almoft in front; his head is covered with green weeds. The face of the nymph is feen in profile; and her back full, with- out draper y* In the centre of the picture is Galatea; flie ftands on her right foot in her chariot, which is a large fhell, drawn by dolphins ; T * 9 o RAPHAEL'S her left foot lifted upwards by the bending of her knee, is thrown behind ; her drapery covers all her left fide from above the thigh, except a little of the foot which is in made; her right leg is feen uncovered to a little above the knee ; the drapery is of a red co- lour, not bright, but tending to purple, that its contraft with the fea might not be too fierce. The body of Galatea is fo turned, thai her right is feen fully in a more direct view, and the fore part of the body as far as uncovered by drapery, more obliquely ; her hair and drapery is blown by the wind ; her eyes thrown upwards, her face turned to the right ; her mouth is open, and her expref" G A L A T E A. 291 fion marks the elevation of the fea-goddefs; the air of the head, and the view given of the coun- tenance, difcover great elegance ; of tafte. Immediately beyond Galatea is a triton, whofe head is covered with green leaves, and whofe light arm farrounds a nymph, whom he feems to carry along with him ; this nymph is of a fair and frefli complexion ; her hair is brown, and tied with a blue braid; £he has no drapery, but a yellow fafii held with both : her hands, which is blown by the wind ; her right arm lifted up, and curved at the elbow, brings her hand above her head; and her left lifted up from the T 2 4 9 2 RAPHAEL'S elbow, gives a view of her fingers taking hold of the fafh; in her countenance there is difdain, but fo delicately expreffed, that it does not hurt the agreeablenefs of her features ; the fairnefs of her com- plexion is con trailed with the brown colouring of the Triton ; and the foftnefs of her breaft with the mufcular fwellings of his bo- dy and arm ; his navel being feen in front, fuppofes a greater twift of the body than what the hu- man is capable of ; but perhaps his fictitious character may ex- cufe. Behind this Triton is the fea- horfe, which a triton blowing a fliell fits upon ; his head and breaft is raifed high, and feen GALATEA. 293 obliquely, his mouth open ; which with the noftril, eye, and ear, all concur in giving him an expref- fion of a great deal of meaning. There are four Cupids in the air : the body of the one moft to the right is hid behind a white cloud; he holds a bundle of ar- rows with both hands; his face is turned a little to the left, and a part of his left wing is feen. The figure neareft him is lower in the pidture, without drapery, and feen at full length ; he draws a bow, with the arrow directed againft Galatea, on whom his eyes are fixed ; his face is turned towards a profile, his body in front, to which his right thigh, leg, and foot correfpond ; and his T 3 294 RAPHAEL'S left thrown behind, is feen in profile upwards. The next cupid rifes higher in the pi&ure; his head looks down- ward, and his arrow pointed at the nymph held by the triton; his left fide and his back is fully feen; his knees curved, and his feet thrown upwards. The laft cupid, towards the left of the picture , diredls his arrow againft Galatea; it is an oblique view of his left fide and back, the fide of his left foot com- ing towards the foreground of the pidlure, the leg is forefhortened. The whole of this picture is in the light; and in that refpeft is more in the talle of Correggio than is ufual in the pictures of GALATEA. 295 Raphael; but the fcene of the pidlure, being at fea, in the open air, makes this choice the more proper. The following letter, wrote by- Raphael, is fo modeft, fo elegant and polite, in the original, that I imagine the whole will be ac- ceptable to gentlemen of tafte who have not feen it ; and the latter part is quoted with propri- ety, becaufe it belongs to the fub- jedt of the pidture. T 4 296 RAPHAEL'S A L C O N T E BALDESSAR CASTIGLIONE. SIGNOR CONTE. " HO facti difegni in piu mani- " ere fopra rinvenzione di V. S. " e fodisfaccio a tutti, fe tutti non " mi fono adulatori j mh. non fo- " disfaccio al mio giudicio,perche " temo di non fodis^are al voftro. " Ve gli mando, V. S. faccia fcelta u d alcuno, fe alcuno fara da lei " ftimato degno. Noftro Signore " con Ponorarmi m'ha meflb un " gran pefo fopra le fpalle. Quefta " e la cura della fabrica di San " Pietro. Spero bene di non cader- " vici fotto: e tanto piu, quanto GALATEA. 297 " il modello, ch'io ne ho fatto, " piace a fua Santita, ed e loda- « to da mold belli ingegni. Ma * io mi levo col penfiero piu alto. " Vorrei trovar le belle forme de- ** gii edifici antichi ; ne so fe il " volo fara d'Icaro. Me ne porge « una gran luce Vitruvio : ma " non tanto che bafti. " Delia Galatea mi terrei un " gran maeftro, fe vi foflero la " meth delle tante cofe, che V. 8. % \ mi fcrive. Ma nelle fue parole " riconofco l'amore, che mi porta : " e le dico che per dipingere una " bella, mi bifognaria veder piu " belle, con quefta condizione che " V. S. fi trovafle meco a far fcelta " del meglio. Ma eflendo careftia " e de i buoni giudicii, e di belle 298 RAPHAEL'S " donne, io mi fervo di certa idea, " che mi viene alia mente. Se " quefta ha in fe alcuna eccellei> ** za d'arte, io non so: ben mi af> *' fatico di averla. V. S. mi co w mandi. Di Roma . . . Rafaello da Urbino." ! TRANSLATION, TO COUNT BALTHASAR CASTIGLIONE. COUNT, I HAVE made defigns in feveral manners after your inventions ; and given fatisfaction to all, if all do not flatter me; but I do not GALATEA. 299 fatisfy my own j udgment, becaufe I am afraid of not fatisfying yours. But I fend them to you ; make choice of any, if any fliall be efteemed worthy of being chofcn. Our Sovereign, with the honour he hath done me, has laid a great weight on my fhoul- ders ; which is the care of the fabric of St. Peter. I hope I fliall not fall under it ; and fo much the more, as the model which I have made pleafes his Holinefs, and is praifed by many good judges. But I raife my thoughts ftill higher. I would wifh to find the beautiful forms of antient edi- fices ; nor do 1 know if my flight fliall be like that of Icarus. Vitru- vius holds me out a great light ; but not fo great as needful. 300 Raphael's Galatea. With refped to Galatea, I fhould think myfelf a great mailer if it were the limit of fo many great things you write to me of. But with the remembrance of the words, I remember the love you bear to me ; and I affure you that to paint one beauty, it is necefv fary to me to fee many; and with this condition, to have you with me, to point out the mod beauti- ful parts. But there being a fear- city of good judges and of beau- tiful ladies, I am obliged to have recourfe to a certain idea which comes into my mind. Whether this has in it any excellence of art I know not, but I labour to pofiefs it. You will command me. From Rome . • . Raphael da Urbino. ( 3oi ) THE RESURRECTION O F OUR SAVIOUR, By Raphael. PAINTED on a very thick plank of wood, in an oval form. The dimenlions are, four feet three inches and an half in height, by three feet three inches in breadth. Our Saviour is fufpended in the air above the fepulchre ; his right hand is ftretched out to- wards the elbow, and a little ele- vated, and the reft of the arm and hand direded upwards ; with his jo2 The RESURRECTION left hand he holds the enfign of victory; his countenance full of raajefty; the face is fully feen; the forepart of the body and fides are uncovered ; but the thighs are covered with a red filk dra- pery ; which, blowing by the wind, is fpread behind and be- yond the figure as high as the fhoulder; the left thigh covered with drapery, which falls to the middle of the leg, is feen in front ; and the whole leg and foot in the fame view thrown a little to the left ; the right leg is thrown behind, and being lifted acrofs, the foot declines like the fame foot of Elias in the Transfigura- tion ; brightnefs furrounds the head of our Saviour* OF OUR SAVIOUR. 303 The red fky, accompanied with darknefs, marks the dawn of the morning; and part of the body of the fun appears rifing above the heights* There is another pi&iire on this fubjedt by Raphael, of which we have the engraving, which is much the fame in the principal figure, if fufficient allowance is made for the graving s falling fhort of the excellence of the pic- ture. But the figures below are to^ tally different. The foldiers are in the Roman military drefs, and furround the fepnlchre ; thofe that are farther advanced towards the background of the picture, are covered with dark fhade ; thofc 3 04 THE RESURRECTION on the foreground are enlighten- ed with a bright light flowing from the body of our Saviour. The figure molt to the right is found aileep ; his fhoulder and left arm are uncovered, except a part which fupports his head ; his right hand refts above his head. The figure adjoining to this, reclining backwards, looks in great aftonifliment towards our Saviour; his mouth very open, as if crying; he is reclined toward the right, and a ftrong light is on thofe parts of his body that are illuminated. The following figure grafps his fhield with his left hand; his two thighs are feen naked, and OF OUR SAVIOUR. 305 raifed towards the knees as if making an effort to fpring up ; his head is already lif»ed, and his breaft which is ieen naked ; the back part of his head is co- vered with a helmet) and is to- wards the foreground of the pic- ture, his face is turned toward our Saviour; his right arm is ftretched upwards in order to take hold of the enfign of victory, which eludes his grafp. This at- titude is repeated in the battle of Conftantine; where a foldier en- deavours to feize Conltan tine's - horfe's bridle- The next figure covers himfelf with his (hield, on that fide next our Saviour, as if afraid ; his fpear is in his right hand; the hinder U 3 o6 The RESURRECTION part of his head and body are fcen, the head in fhade, and the back in a brilliant light; his left leg foreftiortened advances to the foreground of the picture, and is a contraft to the leg and foot of the fecond figure from the right* The adjoining figure is in the fhade, and Handing upon his feet, raifes up his Ihield with his right arm, and grafps his fword with his left ; his countenance is full of emotion, terror, and furprife. There are fix figures more, in different attitudes, in the deep fhade. Several gentlemen have ob* ferved, that the countenance of our Saviour greatly refembles that in Raphael's picture of* the Transfiguration at Rome, OF OUR SAVIOUR. 307 The dawn of the morning renders the light more confined, and reflects its rednefs on the brown carnations of the two middle figures ; and being moil- ly intercepted by the mountains, produces a greater contrail of fliade and obfeurity in the pic- ture. Some ConnoifTeurs at Paris thought this pidlure ought rather to be afcribed to Julio Romano; and I heard an Englifli nobleman, well known to the public for ge- nius and elegance of tafte, point- ing out this picture to his fon, fay, That there were three pictures of Julio Romano in England equal to this. U 2 3 o8 The RESURRECTION, &c. The articulation of the joints, the fwelling of the mufcles, the fpirit and activity of the princi- pal figures, mew abundantly the noble execution of the great ma- iler. I know of no print of this compofition. ( 3°9 ) OUR SAVIOUR WASHING THE DISCIPLES FEET, A Sketch, by Raphael. THE back figures are only flight* ly sketched, and in the firft co louring ; the moft finiflied parts are the heads j the draperies in general are unfinifhed. The dimenfions are, three feet feven inches and three fourths in height, by four feet eleven inches p,nd three fourths in breadth. The sketch is in three groups, U 3 310 Our Saviour Wafhing and difpofed in the tafte of Ra«? phael's pi&ure of Mount Par- nalfus. Our Saviour is about to wafti St. Peter's feet, and is humbly upon his knees. St. Peter feems greatly ftruck with his own un- worthinefs; his right hand lifted up and fpread; his left likewife lifted, but obliquely, anddiredted towards our Saviour. The moment of time feems to be when he is about to pronounce thefe words, " Lord, thou lhalt " never wafli my feet.'' The at- tention of our Saviour marks his expectation, and his attention to anfwer. At the right extremity of the pidture, a face appears in profile. The Di$eiPLEs Feet. 311 It is the face of an old man; the reft of the figure is only mppofed. The next is a female figure, alfo imperfect. The next figure is behind St, Peter, and feems to be a difciple in converfation with the figure laft mentioned. Behind St. Peter and our Savi- our, there are four female figures, flightly painted, with light dra- peries, but have a graceful effect. The next group is compofed of three figures ; the firfl of which in order is a female, leaning for- ward, with her hand upon a table. The fecond is a tall man, with black hair and beard ; his dra^ U 4 312 Our Saviour Wafliing p°ry is red, with a blue mantle ; ; his tight hand points to our Sa- |! viour, and the other falls oblique- ly downward, and terminates on his right kn< e. The head is fi- nithed, bat the reft is only the firft colouring. We have a front view of this figure, and the head is a little reclined to the left fide or i he picture, liflening to a man tint whifpers *, who is feen in profile ; his drapery is fo flight, that it is hard to fay what the * This whifpering figure is probably Ju- das, faying fomething detracting ; for which the other upbraids him, by pointing to our Saviour in his humble attitude ; whofe ex- ample ought to inftrucl: him, and excite his admiration. We find Judas rebuked in a fi- milar manner in the low.q%part of the pic- ture in the Transfiguration.^ The Disciples Feet. 313 colour was intended to be, only it inclines to brown, and the mantle of a lighter colour. The third group confifts of four figures. The figure next the fore- ground is fitting; his hand is near the bottom of the pidhire; whether he is intended to prepare himfelf for being wafhed, by put- ting off his fandals, does not cer- tainly appear. The ftrongeft light in the group falls upon this figure ; it comes obliquely from the right, is a high light, and falls in the direc- tion mentioned upon the figures ; falling obliquely down upon the face of this figure, it flrikes ftrong- efl upon his fhoulder and right thigh. The head of this figure 314 Our Saviour Wafhing leans toward the right fide of the picture, and is near a front view. The figure behind is almoft in front, but a little directed to- ward the right fide of the pidture; he has a placid and ferene coun- tenance, marked by firaplicity and unaffedted wifdom; the co- lours of the drapery feem intend- ed for white and blue, but are only the firft colouring. The next figure is feen in pro- file; the head eredt, and the eye intent on the fcene. The remaining figure has alfo a like drapery; his head is near a profile, looking forward to- wards the fcene; his countenance is melancholy. The groups of female figures The Disciples Feet. 315 llightly fketched on the back- 4 ground, have fome refemblance to the efFed of the remote groups in Mount Parnafiiis. No pi<5ture appears on this fubjedl in the catalogue of Ra- phael's works, or the prints af- ter them; which makes it pre- sumable that this is the only one ; and that it has never been en- graved. Since the above was wrote I have feen a print after a picture by Pouffin on this fubjedt, in which he had imitated the atti- tude and expreffion of our Savi^ our and St. Peter. ( 3*6 ) A DANCE of BOYS, A pi&ure by Raphael, on wood; CONSISTING of fourteen boys, in a great variety of attitudes ; marking the flexibility of the bo- dies of Children, by fhortenings and ftretching out the different parts of the figures : as an emu- lation of Michael Angelo, and in his manner. All the boys are naked, except fome fmall pieces of drapery ; the carnation is warm and frefh ; and the whole forms a very pleafant pidture. The dimenfions are, one foot fix inches and three fourths in height, by two feet eleven inches and one half in breadth. I have feen no print of this pidture. ( 3*7 ) OUR SAVIOUR REPOSING WITHOUT JERUSALEM., By Raphael. IN his countenance is feen pro- found recollection; his eyelids al- moft cover his eyes ; the expref- j fion denotes his tranquillity; his I body is naked down to the thighs; I and the drapery covers to the Lforepart of the right foot. The I bones are marked, fo as to fhew ! the anatomical fkill of the ma- I Her; perhaps in allufion to the | expreflion in the twenty-fecond pfalm, " 1 may tell all my bones." He fupports the crofs, which flands eredl on the ground, with 3 1 8 Our SAVIOUR REPOSING. his left arm; the upper part of his right arm to the elbow, bends obliquely downwards , and the lower part of the arm upwards, fo as to fhew the back of the hand ; the fingers are fpread, and a little curved. The finifhing is high, and the ftrong marking of the bones is like Michael Angelo; but there is nothing in the figure exagge- rated or gigantic, and the expre£ fion has all the delicacy of Ra- phael. The dimenfions are, three feet in height, by two feet five inches in breadth. There is an old print by Mark Antonio or Bonufone, with Ra- phael's name, wherein our Savi- Our SAVIOUR REPOSING. 319 our is reprefented in the air in the fame form with this pidture, and the drapery about his waift producing a fimilar effedt, but much inferior in the expreflion, which may be imputed to the engraver. In the lower part of the print is St. Paul and St. Ca- therine, I have alfo a drawing, with the fame figure in the air, and St« John kneeling on the ground; upon which is written, Le Pautre apres Raphael, ( 3*° ) THE VIRGIN and CHILD, With an Angel embracing our Saviour, A Pi&ure by Raphael. THE Virgin fits in an open gate, fupported by two pillars, on each of which there are two little naked figures in clare-obfcure. Through the gate is feen the fky, and a diftant landfcape. The Virgin has a pear in her hand ; and her drapery, as ufual, blue and red. The dimenfions are, one foot two inches in height, by nine inches and three fourths in breadth. I know of no print of this picture. ( 3 21 ) THE VIRGIN and CHILD, By Raphael. THIS pi&ure is painted on wood, and in his fir ft manner. The di- menfions are, one foot feven inches and one fourth in height, by one foot two inches and an half in breadth. The Child has no drapery, and holds an orange in his right hand. The drapery of the Virgin is green, with a red mantle. The background is a landfkip, with fome buildings. On each fide of the Virgin a tree, in the tafte which he ever afterwards delighted in. I know of no print of this pidlure. X ( 3" J A CIVIL WAR BATTLE, Recorded by Tacitus, fought near Cremona in the caufe of Vitel- lius and Vefpafian. Painted in the School of Raphael* THE landfcapein the background is good. The carnations divert fied; and the colouring better than any of the pictures of Ju- lio Romano after Raphael's death. The dimenfions are, three feet five inches in height, by four f eet, ten inches in breadth. The commanders in chief ar-e A CIVIL WAR BATTLE. 323 mounted on white horfes. One of whom on the foreground is plunging his fpear into the breafl of a man who lies backward,with his fword broken in his left hand, his face and breafl pale, and his eyes beginning to Hare. The commander's left knee refling on his horfe's back, and his right foot upon a piece of drapery , which lies upon the ground; he pufhes his fpear in- to the breafl of the dying man without companion. His horfe appears fhocked at the fight ; his mouth is open, and noflrils fnorting, his eyes flaring, and his ears in different direc- tions ; the horfe is wounded, and is fallen down upon his belly. X 2 324 A CIVIL WAR Behind this commander is a- young man, who holds the arm of an old man, and points his fword to the ground ; the old man is looking upward with grief and aftonifliment, and fup- ports himfelf with his left hand leaning on the ground; having juft received a mortal wound, and difcovered that the wound was given by his fon, who could not know his father, who had been engaged for ten years in the wars ; and his fon in the meantime, growing up to manhood, was engaged by the oppofite faftiom Tacitus reports that this event ftruck both parties with horror, but caufed no fufpenfion of their mutual cruelty ; a fpecimen of BATTLE. m which we have on the forer ground: a man having cut off one head, has it hanging in his left hand by the hair, the blood ftreaming from the neck ; and with his right hand he cuts off the head of another, who lies with his face to the ground. A little behind this man a war- rior on a bay horfe, advances with his fpear to attack the other com- mander in chief, who rides on a white horfe; this warrior's fpear appears near piercing the white horfe or his rider. The rider lifts his fword to llrike ; but as his weapon is fliort, he cannot reach the warrior on the bay horfe. The white horfe fees his fitua- lion; his fore- feet are lifted up, X 3 326 A CIVIL WAR and when they come to the ground muft trample upon a man who is under them, who en- deavours to raife himfelf by the help of his right hand, which refts on the ground. Nothing of the kind can be fuperior to the ex- preffion of the horfe ; his fide be- ing towards the warrior ready to pierce him, he turns his face to- ward him, and looks at him with great intentnefs; his ears bend forward ; his noftrils extended ; his mouth fo open as you fee his teeth. He feems to call out in inarticulate, but fignificant lan- guage, Withhold your fpear. The painter has been careful to give the parties Roman faces on both fides. BATTLE. 327 There is a figure near the middle of the pi<5hire bending a bow, who appears in other battles of Raphael's fchool. On the right fide of the pic- ture, a man on foot takes hold of a horfes bridle with his left hand, and his fword ready to pierce the rider, who has his right hand lifted up with his fword to pre- vent him by ftriking. This pidture, upon the whole, is carefully and highly finifhed, though fome few places are in part facrificed. I know of no repetition, pr print of this picture. X 4 ( 3*« ) THE BATTLE OF CONSTANTINE Against MAXENTIUS. A Picture done to enlarge from* By Julio Romano. THE pidhire in the Vatican was defigned by Raphael, and painted by Julio Romano; and is accoun- ted the largeft picture in Rome. The dimenfions of the one here, are four feet eight inches and an half in height, by nine feet in breadth. There are about three inches of Aquilas's four fheet print cut off in this picture, which renders it feven inches and one fourth lefs in breadth, than the Battle of Constantine. 329 pidture in Lord Orford's collec- tion. This circumftance of agreement in fize gives ground to conjecture that Lord Orford's is not a copy after the great picture was finifli- ed, but rather a pidture done fmce this one, to enlarge from ; becaufe this pidhxre is very different in many particulars. The background has much lefs variety in it, and is a real view of the ground where the battle was. The pidture, q,s painted in the Vatican, reprefents a piece of ta- peftry nailed up : that is not marked in this pidture, and per- haps was thought unneceflary. The part wanting in this pic- 33o THE BATTLE ture is the extremity of the righf fide, from near the extremity of the back of the father, who lifts up his fori, a flandard- bearer, newly flain. The father has a fcaly armour in the picture at Rome, which is quite plain here. There are none of the figures entirely cut off but one, whofe Ihield is left, which is immedi- ately before him, and immediate? ly behind the man without dra- pery ; who lays hold of a warri- or's horfe by the rein; and whofe rider points his fpear againft him. Behind this part of the picture there is a high mountain, which is followed by another more re- mote from the field of adlion. OF CONSTANTINE. 331 Thefe are much more raifed be- hind the armies than they are in the great picture ; where the rif- ing is much lefs, and in a very- different form. Many of the figures on this right fide of the pidhire here, which are in the fame attitudes as in the great picture, have not their fpears, which are in that great pidture; doubtlefs becaufe he thought it unneceflary, it be- ing eafy to paint thefe in the large picture without models ; but in the mod active part of the pic- ture they have all fpears or fwords. One of the figures on horfe- back, remoter in the pi6ture ? wants the fcaly form on his ar- mour and alfo his fpear. 332 THE BATTLE The figure and drapery of Conltantine differs in the great pidture from this, and the mouth of his horfe is much more open. The figure of Maxentius is more erect and determined in this fmall picture, and is ieen in profile. In the great picture his head is thrown back, and is more feen than in profile. The figure endeavouring to get into the boat, who is attack- ed both before and behind, is alfo without fcales on his armour in this pi6lure j which he has in the great one. This pi6lure could not be de- fcribed on account of the great variety it contains, without being too long for moft readers ; and OF CONSTANTINE. 333 as it has been already well de- fcribed by Bellori, we fhall not attempt any defcription of it here. The variations pointed out feem fufficient to prove its prio- rity, and many more might be ad- ded by a careful examination of the pidlure, ( 334 ) ABSALOM Hanging by the hair of the head to a tree. A Pidlure on wood, by J u L i o Romano. HE appears to be calling out in extreme pain, by the expreffion of his face, and the opennefs of his mouth. His horfe having gone from under him, in a rear- ing poflure, turns about his head in queft of his rider. A Jew in a military drefs thrufts a fpear through Abfalorn's back. A little behind Abfalom, on the foreground, a figure is ad- ( 335 ) vancing, which feems to be Joab; his left hand takes hold of the handle of his fword which is by his thigh j he holds his fpear in his right hand which is thrown back : a red drapery which flies in the air is tyed on his right fhoulder; the armour on his bo- dy is of a greenifli colour. There are about twelve figures pretty near the eye; the reft reprefent a diftant army. The ground of the pidture is landfkip, and moun- tainous. The dimenfions are, two feet four inches in height, by three feet four inches in breadth. I know of no repetition, or print of this pi&ure. ( 336 ) A HEAD OF JULIUS CAESAR, On Wood, By Julio Romano. THE dimenfions are, one foot four inches and an half in height, by one foot and half an inch in breadth. ( 337 ) A LANDSCAPE, on wood, with Venus lamenting over Adonis, in clare obfcure, Alcribed to Julio Romano. TO the right fide of the picture there is a lake, at which a wo- man is beating cloth with a fort of a mallet, in the Roman faihion. Beyond the lake are rocks of pidturefque figures; and to the left of the pifture a forelt ; be- yond which fome buildings are feen ; the diftance on that fide of the pidhire is fea. About the middle of the right fide of the pidure, two men are y 338 A LANDSCAPE. about to fight with fwords ; a wo- man ftands between them. All the back-ground of the pic- ture gradually rifes; and upon the heights are great rocks with cailles upon them. This lingular landfcape feems to be chiefly painted after nature. The dimenfions are, two feet in height, by two feet five inches and an half in breadth. ( 339 ) LOT SLEEPING* ONE takes hold and lifts up his red mantle, and is feen in front. Another takes hold of his under robe, of which we have a back view; his head is turned to the right of the pidture, where a young man advances with two branches in his hand. This pidture, which is on wood, is in the tafte of Julio Romano; and may have been done by him at an early period. The dimenfions are, one foot in height, by one foot eight inches in breadth. Y 2 ( 34° ) SAINT FRANCIS, By Julio Romano. H E is placed on his knees near the foot of a great mountain, which makes the background of the picture ; both his hands are ftretched out and open. The ex- preffion is vivid, and marks great aftonifliment. A little behind him, to the right fide, there is a monk of his own order refting on the ground, with a book lying by him. The dimenfions are, two feet eleven inches in heighj, by two feet fix inches and an half in breadth. ( 34* ) THE Picture, with which I fliall conclude this volume, is not of the Roman, but of the Flemifii fchooL The painter known to few, becaufe his pictures are rare. He painted chiefly for churches, for the Prince Leopold, and for the King of Spain. His life and portrait are to be found in the lives of the painters in Flemifh ; his life is alfo writ- ten in Dutch by Hubraken j and lately in Englifli by Pilking- ton. He was elected director of the academy at Antwerp in 1640, being then thirty-feven years of j 3 ( 342 ) age; in which year he painted this pidhire, as appears by the infcription which he has put up- on the foreground, which con-* tarns that date and his name. ( 343 ) THE v MARTYRDOM O F SAINT CATHERINE OF ALEX A N D R I A. A Pidture by John Cossiers, THE wheel on which St. Cathe- rine was to fuffer, is on the ex- tremity of the pidhire in the fliade, and the greateft part of it only fuppofed, but not painted. Before the wheel Hand two af- fiftants to the executioner; the one having two ropes in his hands, the other a fpear; both Y 4 344 THE MARTYRDOM are in armour; they are of dark and grim complexions ; a glim- mering light Ihews their faces and hands. Bevond them, further advanced in the pi&ure, is a pedeftal, on which ftands a llatue, of which a fmall part only is feen, the height of the picture admitting no more. Before the two figures men- tioned, (lands the executioner; he is feen in profile; a fabre by his " fide ; a ftrong light falls upon his head, fhoulder, and naked arm; continuing on a white dra- pery, and after that on drapery of a purple colour, and more faintly on his thigh and leg. His toes are turned towards OF St. CATHERINE. 345 the foreground of the picture, tinged by reflection from the drapery 5 his left leg in the fhade, is feen by reflections of light that come from behind him between his legs. His face is void of com- panion, but defire is in his eye; he holds a cord with both hands, the other end of which is held by a dwarfifh kind of boy, who laughs like an idiot. The arm of St. Catherine feems by the two fo twifted with the cord, as to be out of joint. She kneels upon a cufhion fringed with gold ; her drapery is white fatin and blue filk ; and about her waift, dark velvet, fringed with gold. Her hair is pale, long, and her head uncovered ; mere 346 THE MARTYRDOM is feen of her face than a profile; her neck and left ihoulder are uncovered; her mouth is open; her eyes looking upwards, but the expreffion exceedingly calm and temperate ; great meeknefs of charader, heightened by youth, beauty, and the features of in* nocence. Behind her are two young la- dies : the one moll to the right has dark hair, and a fair com- I plexion ; her right hand is lifted up to her cheek, and in it a hand- kerchief; the tears are falling down her cheeks ; and her whole expreffion fhews a profound and tender grief. The other lady fupports the long hair of St. Catherine with OF St. CATHERINE. 347 her left hand; her face is feen in profile, bending forward to- wards an old prieft, at whom £he is fuppofed to have afked the queftion, Whether any mercy was to be expected for St- Catherine I He anfwers, by pointing with his right hand to the ftatue on the pedeftal, That by fubmitttng to the perfon, whofe flatue is ex- hibited there, favour may be found. This muft be the ftatue of Maximin, under whom fhe is faid to have fuffered. It is faid that Maximin put her to death as a Chriftian, to revenge her re- fulal of being his miftrefs. This prieft has a great appear- ance of feverity ; he is aged, and has a long grey beard; his left 348 THE MARTYRDOM cheek is toward the fpedtator, and his right is partly feen; his drefs is rich, comes round his head, and falls down in large folds upon the ground: it is cloth of gold, ornamented with flowers and o- ther figures. His right leg ad- vanced, fhews a green drapery enriched with gold taffels ; the upper part of his body is covered with a drapery of the fame co- lour, fringed with gold, and taf- fels that hang down; his hand is feen taking hold of the drapery; it is a back view, and contrails with the view of the right. A little behind him, but fur- ther advanced in the picture, one of the guard, feen in profile, feems tQ look towaids a hand in the air, OF St. CATHERINE. 349 coming from behind a curtain, which holds a crown of martyr- dom ; this foldier has a fpear in his hand. Before him ftands a perfon, with a fceptre in his hand refembling a marfhal's itaff; and a rich turbant upon his head, a- dorned with a bird of paradife: this fceptre and bird of paradife, are royal infignia : thefe, with the grief in his countenance, which he endeavours to fupprefs, turn- ing away his face from the caufe, point out the Prince of Alexan- dria, St. Catherine's father. The next and laft figure in this fide, feen in profile, looks upward towards the right fide of the pic- ture. The fpears behind him (hew a continuation of the guards- 350 THE MARTYRDOM Towards the centre of the pic- ture, behind St. Catherine, oppofite to a blue Iky, five diftant heads are feen, of different ages, that make part of the guards ; for the free- dom and execution, they are wor- thy of any painter of the Roman fchool. Although the painter probably meant only the imitation of na- ture, yet his figures in fliade re- femble the painting of Michael Angelo Caravaggio; his execu- tioner, Jordaens; the two ladies, Rubens; St- Catherine, Vandyck; the face of the old prieft and the laft figure, Rembrant; and the Prince of Alexandria, equals the beft of Paul Veronefe. The draperies are at once mag- nificent and harmonious ; and the OF St. CATHERINE, objects fct off one another by contraft, and the elegant difpofi- tion of the figures. The picture does not only ho- nour to the mailer, but to the Flemiih. fchooL The whole is equally uncommon and excellent, and deferves to be efceemed a picture of the firft order. None of the works of this painter are engraved, which is perhaps the reafon that he is fo little known. The dimenfions are, five feet feven inches and an half in height, by four feet and half an inch in breadth. THE END. THE GETTY CENTER LIBRARY