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"I do not know," answered Sylvie, with a little dubious look, "Nothing is contemplated in that way until Angela's great picture is exhibited." The Princesse D'Agramont looked curiously at the opposite wall where an enormous white covering was closely roped and fastened across an invisible canvas, which seemed to be fully as large as Raffaelle's "Transfiguration".
By-and-by she went to school, and caricatured the schoolmaster on the leaves of her grammars and geographies, and drew the faces of her companions, and, from time to time, heads and figures from her fancy, with large eyes, far apart, like those of Raffaelle's mothers and children, sometimes with wild floating hair, and then with wings and heads thrown back in ecstasy.
But if the "Dispute on the Sacrament" and the so-called "School of Athens," both prior to the paintings of the Sixtine Chapel, seemed to him to be Raffaelle's masterpieces, he felt that in the "Burning of the Borgo," and particularly in the "Expulsion of Heliodorus from the Temple," and "Pope St.
A well-known writer has said that genius is the power of taking pains; he should have said rather that genius HAS this power also, but that first and foremost it possesses the power of spontaneous and exquisite production without effort and with delight. Raffaelle's face grew very serious, too, and lost its color, and his large hazel eyes looked very big and grave and dark.
Peter on the high altar, he will relate to you how for three centuries the divine Raffaelle's Transfiguration was worshipped in that spot; how it was carried away by the French in 1809, and restored to the pope by the Allies in 1814.
And she raised her dreamy blue eyes to the sheltering canopy of green leaves that overhung them leaves thick-clustered and dewy, through which the dazzling sky peeped in radiant patches. Philip looked at her, the rapt expression of her upward gaze, the calm, untroubled sweetness of her fair face, were such as might well have suited one of Raffaelle's divinest angels.
Michael Angelo's works have a strong, peculiar, and marked character: they seem to proceed from his own mind entirely, and that mind so rich and abundant that he never needed, or seemed to disdain to look abroad for foreign help. Raffaelle's materials are generally borrowed, though the noble structure is his own.
The copier is that servile imitator to whom Horace gives no better a name than that of animal; he will not so much as allow him to be a man. Raffaelle imitated nature; they who copy one of Raffaelle's pieces, imitate but him, for his work is their original. They translate him, as I do Virgil; and fall as short of him as I of Virgil.
But if the "Dispute on the Sacrament" and the so-called "School of Athens," both prior to the paintings of the Sixtine Chapel, seemed to him to be Raffaelle's masterpieces, he felt that in the "Burning of the Borgo," and particularly in the "Expulsion of Heliodorus from the Temple," and "Pope St.
It looked perhaps yet more dilapidated than the others, with its hangings of green damask worn by age and resembling the faded moss on ancient trees. The ceiling, however, had remained superb. Within a frieze of gilded and coloured ornaments was a fresco representing the Triumph of Amphitrite, the work of one of Raffaelle's pupils.
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