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Peter's were gathering confirmation. Genius that morning had brought him fresh proof. No doubt the paganism which reappeared in the art of Michael Angelo and Raffaelle was tempered, transformed by the Christian spirit. But did it not still remain the basis? Had not the former master peered across Olympus when snatching his great nudities from the terrible heavens of Jehovah?
He sent his own portrait to Raffaelle, painted on canvas, without any coloring or touch of the pencil, only heightened with shades and white, yet exhibiting such strength and elegance that the great artist to whom it was presented expressed the greatest surprise at the sight of it.
That he was not a docile, though a very devoted pupil, is indicated by his reply to Moser, the keeper, who came to him, as he was looking over prints from his beloved Raffaelle and Michel Angelo, and said, "You should not study these old, hard, stiff, and dry, unfinished works of Art: stay a little, and I will show you what you should study." He brought down Le Brun and Rubens.
As I advanced, I found myself in squares and circuses, in every instance adorned by an obelisk of bronze or the equestrian statue of some royal hero: I observed a theatre with a lofty Corinthian portico, and a pediment brilliantly painted in fresco with designs appropriate to its purpose; an Ionic museum of sculpture, worthy to enshrine the works of a Phidias or a Praxiteles; and a palace for the painter, of which I was told the first stone had been rightly laid on the birthday of Raffaelle.
"After all," he said to himself, "it is the religion of Bossuet, Pascal, Racine, Saint-Louis, Louis XIV., Raffaelle, Michel-Angelo, Ximenes, Bayard, du Guesclin; and how could I, weakling that I am, compare myself to those intellects, those statesmen, those poets, those heroes?"
In 1712 Corelli's concertos were beautifully engraved at Amsterdam, but the composer only survived the publication a few weeks. A beautiful statue, bearing the inscription "Corelli princeps musicorum," was erected to his memory, adjacent that honoring the memory of Raffaelle in the Pantheon. He accumulated a considerable fortune, and left a valuable collection of pictures.
The most beautiful creature in the town; almond eyes, lids that dropped like curtains, lashes like a paint-brush, a face with an oval to drive Raffaelle mad, a skin of the most delicious coloring, tints well-blended, velvety! and hands, oh! "They weren't made of butter like those of the David school," put in Mistigris. "You are always lugging in your painting," cried Georges.
The only ornaments on his walls were a few engravings in black frames: one after Leonardo da Vinci; one after Titian; and four, I think, by Hogarth, about whom he has written so well. I have heard him express admiration for Leonardo da Vinci that he did not accord to Raffaelle.
Alluding to the famous "Transfiguration," our own RAFFAELLE says "When I have stood looking at that picture from figure to figure, the eagerness, the spirit, the close unaffected attention of each figure to the principal action, my thoughts have carried me away, that I have forgot myself; and for that time might be looked upon as an enthusiastic madman; for I could really fancy the whole action was passing before my eyes."
At this Narcisse smiled with indulgent and courteous disdain. And he anticipated further argument by remarking: "It's already eleven. My cousin was to have sent a servant here as soon as he could receive us. I am surprised to have seen nobody as yet. Shall we go up to see the /stanze/ of Raffaelle while we wait?"
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